_b._ The _second_ period commences with the _Flavians_, 69 A.D. After the tyrannical reigns of Tiberius and Nero, the cosmopolitan Imperial state acquired an apparent stability in new social forms, which found expression in gigantic artistic constructions. This period, which lasted down to Septimus Severus, 193 A.D., has three distinct phases. α. A phase of powerful development under the Flavians. β. A phase of brilliant success under _Trajan_ (98-117 A.D.) γ. A phase of revival of classic Greek forms under _Hadrian_ (117-138 A.D.) We may designate these phases of development as the _Romano-Greek_ period. _c._ The _third_ period under the military despotism of the prætorian guards, during which Rome ceased to be the centre of universal dominion, and each province began to feel its own vitality, lasted from _Septimus Severus_ (193-211 A.D.) to Constantine the Great. Art lost every basis--degenerated into luxurious pomp, and became heavier with each new product, and more fantastic in incredible details and impossible executions. We may best designate this as the _Romano-eclectic_ period. A. After the destruction of Korinthum, Rome abounded in Greek immigrants, and in Greek marble and bronze statues, friezes, pillars, and various movable works of art. The spoils of Greek temples and houses were set up in Roman houses built of bricks and mortar. The contrast between the unartistic architecture of the Romans, and the master-pieces of Greek art, was so striking, that they were forced to endeavour to improve their architecture, and art became to a certain degree _fashionable_. The wealthier classes began to study it _theoretically_, and to affect an immense amount of _patronizing_ enthusiasm, without any deeper understanding of the laws of taste and beauty, but with a determination to outdo all other nations in the profession of works of art. Such sentiments often engender a _brisk trade_, but they fail to promote real art, or to benefit genuine artists. The walls of the houses of this period were generally white, with red painted ornamentations. Red is the favourite colour with children, savages, and butchers in mind. This led to the making of red bricks, which were mixed with others of different colours, and thus originated polylithic wall-decoration. The spaces between the red bricks were filled in with a black composition in imitation of different textile patterns, and this mode of decoration was called Niello. By degrees, bricks and cement were superseded by marble, and the houses became so rich, that a Puritan party of Roman ἰδιώταις {idiôtais} formed itself, and thundered against corruption and enervation, luxury and degradation. The power of this party was so great that Cicero, fearing lest these stern and dull Roman worthies should think him acquainted with the principles of artistic refinement, declared his utter ignorance of art, and expressed his high contempt for all such futile ‘allotria.’