Yet, without the setting, the play is imperfect, and we must have some of the one to understand the other. For human art is, in the first place, a progressive commentary on human nature, and again, in quick reaction, stimulates it with a suggestive force. Little as we really know of the imperial times, we cannot conceive of Rome without the Romans, nor of the Romans without Rome. They belonged together; when the seat of Empire became cosmopolitan, the great dominion began to be weakened; and when a homogeneous power dwelt in the city again, a new domination had its beginning, and was built up on the ruins of the old. Napoleon is believed to have said that the object of art is to create and foster agreeable illusions. Admitting the general truth of the definition, it appears perfectly natural that since the Romans had little or no art of their own, they should have begun to import Greek art just when they did, after the successful issue of the Second Punic War. Up to that time the great struggle had lasted. When it was over, the rest was almost a foregone conclusion. Rome and Carthage had made a great part of the known world their fighting ground in the duel that lasted a hundred and eighteen years; and the known world was the portion of the victor. Spoil first, for spoil's sake, he brought home; then spoil for the sake of art; then art for what itself could give him. In the fight for Empire, as in each man's struggle for life, success means leisure, and therefore civilization, which is the growth of people who have time at their disposal--time to 'create and foster agreeable illusions.' When the Romans conquered the Samnites they were the least artistic people in the world; when Augustus Cæsar died, they possessed and valued the greater part of the world's artistic treasures, many of these already centuries old, and they owned literally, and as slaves, a majority of the best living artists. Augustus had been educated in Athens; he determined that Rome should be as Athens, magnified a hundred times. Athens had her thousand statues, Rome should have her ten thousand; Rome should have state libraries holding a score of volumes for every one that Greece could boast; Rome's temples should be galleries of rare paintings, ten for each that Athens had. Rome should be so great, so rich, so gorgeous, that Greece should be as nothing beside her; Egypt should dwindle to littleness, and the memory of Babylon should be forgotten. Greece had her Homer, her Sophocles, her Anacreon; Rome should have her immortals also.