28. The great superiority of the Greeks in the art of sculpture, is ascribed to various causes; among which are classed, their innate love of beauty, and their own elegance of form, combined with the frequent opportunities of studying the human figure, in places where youth were in the habit of performing athletic exercises in a state of nudity. To these may be added, the practice of awarding to citizens a statue of their own persons, for eminent services to the state, and for excelling in exercises at the public games. 29. The fine arts were nearly extinguished in Greece, by the conquest of the Romans; who, with ruthless rapacity, seized upon, and transferred to their metropolis and villas, the superb works of taste with which the country abounded. By these means, however, a taste for the arts was produced among the Romans, who encouraged with great liberality the Greek artists who resorted in great numbers to their city. 30. The arts at length declined at Rome, and finally became nearly extinct in that city, soon after Byzantium was made the capital of the Roman empire, in 329 of the Christian era. The new capitol was enriched by the most valuable statuary of the old metropolis, and by a farther pillage of Greece. Artists were also encouraged with a munificence similar to that of former times; and many new subjects in painting and sculpture, in illustration of the Christian scriptures, were executed as embellishments for the sacred buildings of the city. 31. The art of sculpture necessarily declined during the time of the unsettled state of Europe, which followed the conquests by the barbarous nations. It, however, was not altogether lost, but was occasionally practised, although in a very rude manner, in several kingdoms of Europe. In the eleventh century, after the terrors of the northern invasions had passed away, and the governments had become more established, the arts of design began a regular course of improvement, which has been denominated their revival. 32. This improvement was promoted by means of the frequent intercourse which had sprung up between the commercial cities of Italy and the Greek empire. In 1016, the Pisans founded their great church, called the Dome of Pisa; and, in its construction, they employed many noble pillars and other fragments of Grecian edifices. They also engaged upon the work several Grecian sculptors and painters, who exerted in their service the little skill which had come down from antiquity. 33. The specimens of ancient art thus introduced at Pisa, and the works of these artists, at length incited several Italians to emulation; among whom was Nicolo Pisano, who became the restorer of true taste in the arts, in the thirteenth century. At this period, the crusades had diffused such a zeal for the Christian religion, that magnificent churches were built in every part of Italy, in the designing of which, and in their decoration with sculpture, Pisano and his scholars were universally employed.