It will be seen that the principal defect of thought and literature under the Empire was its lack of originality. But, after all, that had always been the deficiency of Roman writers. It was due very largely to the overwhelming incubus of Greek civilisation, from whose leading-strings the Romans, to the end of time, never escaped. That in its turn arose chiefly through the nature of their education which turned all their attention to _style_ as the end of literary endeavour. Any one who would argue against a classical education could find no better argument than the relations between the two “classical” peoples. ART With art it is much the same story; for the decoration of their villas and colonnades the Romans of the Empire continued to prefer their statues imported from Greece. Pausanias shows us that Greece, even in the second century A.D., was still teeming with works of art of every kind. Impoverished and shrunken as the old Greek cities were at this period, it shows some high-mindedness that they still retained treasures which would have fetched millions in the Trans-Adriatic markets. There was, however, a brisk trade in copies and imitations of the masterpieces. For statues, then, the Greek work of the fifth and fourth centuries almost destroyed any attempt at originality by the Romans. Only in portraiture was there much progress, and here work of great power and vigour was produced. It reaches the zenith perhaps under the Flavian emperors, but their successors of the Antonine period and later are often depicted on their busts with triumphant but unsparing realism. The bust of Philip the Arabian in the Vatican is one of the most striking. Sometimes it almost seems as if there was a malicious spirit of caricature in these too faithful portraits. Can Marcus Aurelius, the philosopher prince, have presented to the world a visage so weak and so tonsorially perfect?[71] Can Caracalla have borne his bloody mind so visibly written on his face?[72] In portraiture, there is certainly progress and not decay.