But while the crowd of gods terrestrial was thus disconcerted, behold a woman of loftiest stature and great assurance, with countenance of radiant splendor, made her solemn entry. Helmeted and crowned with royal majesty, she held ready for defense or for attack weapons that gleamed with the flash of lightning. Beneath her armor the vesture draped Roman-wise about her shoulders glittered with the various light of all _figuræ_, all _schemata_; and she was cinctured with most precious _colores_ for jewels. The clatter of her weapons as she moved was as if thunder in the crash of a cloud aflame broke with leaping echoes. Nay, it seemed as if, like Jove, she herself could hurl the thunderbolt. For as queen in control of all things she has shown power to move men whither she pleased, or whence, to bow them to tears, to incite them to rage, to transform the mien and feeling as well of cities as of embattled armies and all the hosts of the peoples.[57] After this fanfare _Rhetorica_ settles down to drill. Though the predilection for _declamatio_ transpires now and then even in this, the compend covers all five parts of the ancient program, and gives to _inventio_ and _dispositio_ more than twice the space granted to _elocutio_. There is room not only for character and the feelings (ἤθη and πάθη), but for _status_ and analysis of types of argument. Most of the examples are from Cicero. The rhetoric that Martianus preaches is quite distinct from that which he practises. Its proportions are those of the better ancient tradition. It does not even dilate on _colores_.[58] For all the rodomontade with which it is introduced, the ancient program is still comprehended. 2. Cassiodorus The survey included by the monk Cassiodorus[59] in his _Institutiones_ is hardly more than an enumeration. The seven arts are not considered in their larger aspects; and the Trivium is merely sketched. _Rhetorica_, after being summarily distinguished from _dialectica_ and divided into its typical considerations and objects, is hastened through the parts of a speech into the emotions. Then defining it anew and dividing it into its traditional five parts, Cassiodorus enumerates _status_, reverts to the parts of a speech, cites Quintilian and Fortunatianus, and classifies arguments. The meager summary is not even clear. Nevertheless the influence of Cassiodorus in carrying forward the idea of the seven arts is attested by frequent reference.[60] 3. Isidore