"Is there a lesson, though given by the most learned professor, that could cause to live before us all the life of the Rome of the Cæsars as do these effigies? In the long succession of portraits which embrace three centuries of history the differences of times and of men are contrasted more keenly and more vividly than in the recitals of ancient authors or in the dissertations of modern erudites. Augustus and Tiberius, Constantine and Theodosius, all bore the same title--'imperator'; all were called consuls, Cæsars, Augusti, _patres patriæ_, etc. Nevertheless, from the first to the fourth centuries the supreme power was greatly modified. Volumes have been written to explain the change, but there is nothing that makes it so clear as the comparison of the images of these princes. Augustus, in perhaps the most beautiful of all his statues, called _de Prima Porta_, has his head, arms, legs, and feet bare. Over the soldier's short tunic he wears a cuirass, and over it is thrown the military mantle of command. He is represented as supreme chief haranguing his troops. Another statue may represent him as a simple citizen, clothed with the toga and holding in his hand the manuscript of the discourse he proposes reading to the senate. The statues still show forth the Roman Republic, at least the customs and the style of it. Most vividly is the spirit and also the deception of the system perceived which, while investing a single individual with a power almost limitless, affects for two centuries a preservation of ancient liberties. Turn from these to an image of one of the successors of Diocletian, one who preferred to reside in Constantinople, the new capital of the empire. Do not seek his image in one of the ceremonial statues where, by force of routine, the sculptor may perchance have preserved classic rules; but in monuments of another order, where the artist kept closer to reality, in miniatures adorning manuscripts, in mosaics, in ivory diptychs, etc. There you will find figures which have nothing left of the simplicity and nobility which Rome borrowed from Greece, but figures which in some particulars recall the old art of Asia, and in others already announce the art of the middle ages. The head is encircled with a diadem. The body and the limbs are entirely hidden by clinging draperies which are very long and very narrow. The materials which form this species of case are decorated from top to bottom with rich embroideries in the shape of medallions, flowers, animals, and even persons. There is no more deception; we are no longer in Rome; fictions so long preserved have finally disappeared; the empire has turned into an Oriental despotism.