We have now completed our survey of Greek sculpture on the mainland, and in connexion with the eastern kingdoms which Greece absorbed as conqueror. We have yet one other aspect to consider: Greek sculpture in connexion with the Roman world of the west, by which Greece was conquered. ‘Conquered Greece led her conqueror captive,’ and while Greek civilization as a whole strongly modified the Italic civilization by which it was overthrown, Greek art in particular established its mastery over the inartistic nation which supplanted it. We have many accounts of how Roman connoisseurs filled their galleries with Greek statues. Mummius, Aemilius Paulus, Verres, Cicero, Sulla, Asinius Pollio, were all robbers or purchasers of Greek sculpture, and by the time of Pompey and Caesar the great market for Greek sculpture was in Rome. The demand exceeded the supply of antique marbles, enormous as the supply must have been, for the systematic plundering of the great shrines belongs to a later date. And as the Roman noble could not be accommodated with originals, he had to content himself with copies. Doubtless few of the collectors could tell the difference. Rhodes continued to turn out original sculpture until the time of Augustus, but Pergamon and Alexandria had long sunk into decay. It was, therefore, the opportunity for a new school of artists to arise in Athens, an opportunity which was promptly taken. Athens and Delos, Ephesos, and later Aphrodisias, became great centres of the new industry, which was primarily commercial. There was no longer any talk of idealism or of votive offerings to deities. The necessity was to turn out quantities of work suitable to the Roman taste. Greco-Roman sculpture falls into three clear divisions. There are copies pure and simple like the Delian Diadumenos, a straightforward replica of the masterpiece of Polykleitos; there are adaptations of earlier work like those turned out by the school of Pasiteles and Arcesilaos; and there are, finally, new works, mostly in relief, which have been termed Neo-Attic, and which represent a new artistic development based on an elegant and artificial archaism. Athens is the centre of all this art, and she thus recovers in the first century B.C. the position which she had lost for so long.