From what we have been perusing we may conclude that the Roman artistic world was not entirely different from the artistic world of to-day. Certainly the city must have been of a magnificence of which no conception is given by its grandiose ruins. But the artistic life, and the narrow path of the collector, were somewhat similar to those of to-day. Some of the characters we have quoted would seem to be alive to-day, a change of name and a _milieu_ of more modern colouring and they would provide ground for an action for libel. We feel quite familiar, in fact, with the characters described by Seneca. Even to-day the world possesses collectors of rusty nails and other worthless objects--mere cult of fetishism. We feel no less acquainted with some of the other types to whom Martial pays his attention. The man who gathers ants fossilized in amber, the collector of relics who glories in owning a fragment of the Argonauts’ ship, might both be alive to-day. So might Lycinius the demented, Codrus the penurious and dissatisfied, Eros the enthusiast and dreamer. They still exist and are well represented in their various shades of foolishness down to that Mamurra who used to upset all the shops of the Roman antiquaries without buying a single thing. Would you resuscitate Tongilius to our modern society just substitute a bright motor-car for his rich and cumbersome _lectica_ and, for a certainty, the name of some modern collector of art, some up-to-date Mæcenas, will come to your mind. Of course, though Mr. Cook had not yet alighted to relieve itinerant humanity from many troubles, tourists existed even at the time when Rome did not possess the modern type of traveller. According to Titus Livius many foreigners used to visit the temples of _Porta Capena_, regular museums of art. The tourists of that time followed a routine, as we can gather from Pliny and other writers. They were taken to the Palatine, to the Via Sacra to admire the temple of Apollo with its peristyle of fifty-two columns, adorned by the simulacra of the Danaides and fifty equestrian statues, one of the finest sights in Rome and which inspired Horace with an ode. This temple of Luni marble with ivory doors, surmounted by a quadriga in gilded bronze carrying the god, was also a museum, containing among other things a fine collection of gems, and a room lined with silver in which the Sibylline Books were kept. The _Domus Aurea_, the paintings of Apelles exhibited in the Forum of Augustus, the temple of Venus, one of the finest emporiums of art, that of Ceres which contained the celebrated “Bacchus” of Aristides of Thebes, the “Marsias” in the temple of Concord, and in the Capitol the “Theseus” of Zeuxis, in Pompey’s portico the “Soldier” by Polygnotus, in the temple of Peace the “Hero” by Timante and another famous work by Protogenes.