This art has arrived at incredible perfection, both in successfulness and in boldness of design. As a proof of successfulness, I will adduce one example, and that of a figure which represented neither god nor man. We have seen in our own time, in the Capitol, before it was last burnt by the party of Vitellius, in the shrine of Juno, a bronze figure of a dog licking its wounds. Its miraculous excellence and its perfect truthfulness were not only proved by the circumstance of its having been consecrated there, but also by the novel kind of security that was taken for its safety; for since no sum appeared equal to its value, it was publicly enacted that the keepers of it should be answerable for its safety with their lives. CHAPTER X. THE MOST CELEBRATED COLOSSAL STATUES IN THE CITY. As to boldness of design, the examples are innumerable; for we had statues of colossal bulk, equal to towers in size. Such, for instance, is the Apollo in the Capitol, which was brought by Lucullus from Apollonia, a city of Pontus, thirty cubits in height, and which cost five hundred talents: also the statue of Jupiter, in the Campus Martius, dedicated by the late Emperor Claudius, but which appears dwarfed from its vicinity to the Theatre of Pompey: and the Jupiter at Tarentum, forty cubits in height, the work of Lysippus. It is a remarkable circumstance that although this statue is so nicely balanced as to be movable by the hand, it has never been thrown down by a tempest. This, the artist guarded against, by a column erected at a short distance from it, upon the side on which the violence of the wind required to be broken. On account of its magnitude, and the great difficulty of moving it, Fabius Maximus did not touch it, when he transferred the Hercules from that place to the Capitol, where it now stands.