“The walls were of brick, laid in arches and faced by a row of Corinthian pillars. What confronted the spectator’s eye was a wall in superposed and continuous arches, seen through an endless colonnade. Seventeen columns were still erect upon their bases in 1529. Gyllius, who saw them, says that their diameter was three and eleven-twelfths feet. Each was twenty-eight feet high, and pedestal and capital added seven feet more. They stood eleven feet apart. Hence, deducting for the gates, towers, and palace, at least two hundred and sixty columns would be required in the circuit. If one, with the curiosity of a traveller, wished to journey round the entire perimeter, he must continue on through a distance of three thousand and fifteen feet, before his pilgrimage ended at the spot where it had begun; and ever, as he toiled along, there loomed into the air that prodigious mass, forty feet above his head. No wonder that there remained, even in the time of the Sultan Souleiman, enough to construct that most superb of mosques, the Souleimanieh, from the fallen columns, the splintered marbles, the brick and stone of the Hippodrome.” But it was not merely the shell of the Hippodrome that was imposing by reason of its size and magnificence. It was filled with the choicest art treasures of the ancient world. Constantine stole masterpieces with the catholicity of taste, the excellence of artistic judgment, and the callous indifference to the rights of ownership which characterised Napoleon. He stripped the world naked of its treasures, as St. Jerome neatly remarked.[121] Rome and its conquering proconsuls and proprætors had done the same. Constantine now robbed Rome and took whatever Rome had left. Greece was still a fruitful quarry. We have already spoken of the Serpent Column, which was torn from Delphi. The historians have preserved for us the names of a number of other famous works of art which adorned the spina and the promenade of the Hippodrome. There was a Brazen Eagle, clutching a withing snake in its talons and rising in the air with wings outspread; the Hercules of Lysippus, of a size so heroic that it measured six feet from the foot to the knee; the Brazen Ass and its driver, a mere copy of which Augustus had offered to his own city of Nicopolis founded on the shores of Actium; the Poisoned Bull; the Angry Elephant; the gigantic figure of a woman holding in her hand a horse and its rider of life size; the Calydonian Boar; eight Sphinxes, and last, but by no means least, the Horses of Lysippus. These horses have a history with which no other specimens of equine statuary can compare. They first adorned a temple at Corinth. Taken to Rome by Memmius when he laid Corinth in ashes, they were placed before the Senate House. Nero removed them that they might grace his triumphal arch; Trajan, with juster excuse, did the same. Constantine had them sent to Constantinople.