This rule applies equally to the fine arts. _Hoc idem_, proceeds Velleius, _evenisse plastis, pictoribus, sculptoribus, quisquis temporum institerit notis reperiet, et eminentiam cujusque operis artissimis temporum claustris circumdatum_. Of this union of men of genius in the same age, _Causus_, he says, _quum sempre requiro, numquam invenio quas veras confidam_. It seems to him probable that when a man finds the first station in art occupied by another, he considers it as a post that has been rightfully seized on, and no longer aspires to the possession of it, but is humiliated, and contented to follow at a distance. But this solution does not satisfy my mind. It may indeed account to us why no other Michael Angelo, or Raffaelle, has ever appeared; but it does not satisfy me why these two, and the others before mentioned, should all have appeared in the same age. I am of opinion that the age is always influenced by certain principles, universally adopted both by professors of the art, and by amateurs; which principles happening at a particular period to be the most just and accurate of their kind, produce in that age some preeminent professors, and a number of good ones. These principles change through the instability of all human affairs, and the age partakes in the change. I may add that these happy periods never occur without the circumstance of a number of princes and influential individuals rivalling each other in the encouragement of works of taste; and amidst these there always arise persons of commanding genius, who give a bias and tone to art. The history of sculpture in Athens, where munificence and taste went hand in hand, favors my opinion, and it is confirmed by this golden period of Italian art. Nevertheless, I do not pretend to give a verdict on this important question, but leave the decision of it to a more competent tribunal. GOLDEN AGE OF THE FINE ARTS IN ANCIENT ROME.