+DECORATION.+ The temple of Castor and Pollux in the Forum (long miscalled the temple of Jupiter Stator), is a typical example of Roman architectural decoration, in which richness was preferred to the subtler refinements of design (see Fig. 44). The splendid figure-sculpture which adorned the Greek monuments would have been inappropriate on the theatres and thermæ of Rome or the provinces, even had there been the taste or the skill to produce it. Conventional carved ornament was substituted in its place, and developed into a splendid system of highly decorative forms. Two principal elements appear in this decoration--the acanthus-leaf, as the basis of a whole series of wonderfully varied motives; and symbolism, represented principally by what are technically termed _grotesques_--incongruous combinations of natural forms, as when an infant’s body terminates in a bunch of foliage (Fig. 49). Only to a limited extent do we find true sculpture employed as decoration, and that mainly for triumphal arches or memorial columns. [Illustration: FIG. 49--ROMAN CARVED ORNAMENT. (Lateran Museum.)] The architectural mouldings were nearly always carved, the Greek water-leaf and egg-and-dart forming the basis of most of the enrichments; but these were greatly elaborated and treated with more minute detail than the Greek prototypes. Friezes and bands were commonly ornamented with the foliated scroll or _rinceau_ (a convenient French term for which we have no equivalent). This motive was as characteristic of Roman art as the anthemion was of the Greek. It consists of a continuous stem throwing out alternately on either side branches which curl into spirals and are richly adorned with rosettes, acanthus-leaves, scrolls, tendrils, and blossoms. In the best examples the detail was modelled with great care and minuteness, and the motive itself was treated with extraordinary variety and fertility of invention. A derived and enriched form of the anthemion was sometimes used for bands and friezes; and grotesques, dolphins, griffins, infant genii, wreaths, festoons, ribbons, eagles, and masks are also common features in Roman relief carving. [Illustration: FIG. 50.--ROMAN CEILING PANELS. (a, From Palmyra; b, Basilica of Constantine.)] The Romans made great use of panelling and of moulded plaster in their interior decoration, especially for ceilings. The panelling of domes and vaults was usually roughly shaped in their first construction and finished afterward in stucco with rich moulding and rosettes. The panels were not always square or rectangular, as in Greek ceilings, but of various geometric forms in pleasing combinations (Fig. 50). In works of a small scale the panels and decorations were wrought in relief in a heavy coating of plaster applied to the finished structure, and these stucco reliefs are among the most refined and charming products of Roman art. (Baths of Titus; Baths at Pompeii; Palace of the Cæsars and tombs at Rome.)