Their reputation and their language encouraged them, however, to despise the ignorance and to overlook the progress of the Latins. 93 In the love of the arts, the national difference was still more obvious and real; the Greeks preserved with reverence the works of their ancestors, which they could not imitate; and, in the destruction of the statues of Constantinople, we are provoked to join in the complaints and invectives of the Byzantine historian. 94 We have seen how the rising city was adorned by the vanity and despotism of the Imperial founder: in the ruins of paganism, some gods and heroes were saved from the axe of superstition; and the forum and hippodrome were dignified with the relics of a better age. Several of these are described by Nicetas, 95 in a florid and affected style; and from his descriptions I shall select some interesting particulars. _1._ The victorious charioteers were cast in bronze, at their own or the public charge, and fitly placed in the hippodrome: they stood aloft in their chariots, wheeling round the goal: the spectators could admire their attitude, and judge of the resemblance; and of these figures, the most perfect might have been transported from the Olympic stadium. _2._ The sphinx, river-horse, and crocodile, denote the climate and manufacture of Egypt and the spoils of that ancient province. _3._ The she-wolf suckling Romulus and Remus, a subject alike pleasing to the _old_ and the _new_ Romans, but which could really be treated before the decline of the Greek sculpture. _4._ An eagle holding and tearing a serpent in his talons, a domestic monument of the Byzantines, which they ascribed, not to a human artist, but to the magic power of the philosopher Apollonius, who, by this talisman, delivered the city from such venomous reptiles. _5._ An ass and his driver, which were erected by Augustus in his colony of Nicopolis, to commemorate a verbal omen of the victory of Actium. _6._ An equestrian statue which passed, in the vulgar opinion, for Joshua, the Jewish conqueror, stretching out his hand to stop the course of the descending sun. A more classical tradition recognized the figures of Bellerophon and Pegasus; and the free attitude of the steed seemed to mark that he trod on air, rather than on the earth. _7._ A square and lofty obelisk of brass; the sides were embossed with a variety of picturesque and rural scenes, birds singing; rustics laboring, or playing on their pipes; sheep bleating; lambs skipping; the sea, and a scene of fish and fishing; little naked cupids laughing, playing, and pelting each other with apples; and, on the summit, a female figure, turning with the slightest breath, and thence denominated _the wind’s attendant_.