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_. _8._ The Phrygian shepherd presenting to Venus the prize of beauty, the apple of discord. _9._ The incomparable statue of Helen, which is delineated by Nicetas in the words of admiration and love: her