Republican Rome, on the contrary, was not only satisfied with her alien school of sculpture for a century and a half, but borrowed at the same time an entire culture from Greece—literature, science and philosophy. The Roman boy was educated by Greek teachers in Rome. During adolescence, he passed over to Athens for a course of philosophy or to Rhodes for instruction in the accepted methods of rhetoric. Afterwards, a year was spent upon “the grand tour” through Greece and Asia Minor where the chief temples and monuments of the Hellenic masters were still to be seen _in situ_. This Greek education by no means changed the Roman Republican into a Hellenistic Athenian. The Roman was never more Roman than he was during the Republican age. Yet the same art and philosophy served for both. In other words, peculiarly Roman thought and emotion found no artistic expression whatever. These facts compel us to retrace some of the ground covered in our last chapter. Both upon the historical and the artistic side we are forced back to the time when Republican Rome furnished the principal market for the wares of the Hellenistic sculptor. We shall, however, regard it from a different ground. Our review of Hellenistic sculpture only interested us in as far as it affected Greece. We judged it from the standpoint of the Greek artist. Now Hellenistic sculpture calls for attention from the point of view of the Roman patron. During the later Republican age—the period from the defeat of Carthage to the rise of Julius Cæsar—Rome was filled with Greek sculpture. Thousands of original Hellenic and Hellenistic works were carried there. Numberless Græco-Roman sculptors spent their time in producing copies of Greek masterpieces or designing variations upon well-known and popular designs. The process of despoiling Greater Greece of its art treasures began as early as the fall of Syracuse in 212 B.C. Corinth was stripped in 146 B.C. by Mummius. Delphi and Olympia both suffered. Even Athens itself was plundered by Sulla in 86 B.C. during the war with Mithridates. Chryselephantine statues like the “Athena” of Phidias and the decorative sculptures of the great temples were left untouched, but so many works of the Greek masters were carried westward that Myron, Phidias, Polyclitus, Praxiteles, Scopas, and Lysippus became household names in Rome.