Belonging to an ancient house whose traditions were exclusive and aristocratic, FABIUS (210 B.C.) addressed himself to the limited circle of readers who were conversant with the Greek tongue; to the people at large he was at no pains to be intelligible, and he probably was as indifferent to their literary, as his ancestors had been to their political, claims or advantages. The branch to which he belonged derived its distinguishing name from Fabius Pictor the grandfather of the historian, who, in 312 B.C. painted the temple of Salus, which was the oldest known specimen of Roman art, and existed, applauded by the criticism of posterity, until the era of Claudius. This single incident proves that in a period when Roman feeling as a rule recoiled from practising the arts of peace, members of this intellectual _gens_ were already proficients in one of the proscribed Greek accomplishments, and taken into connection with the polished cultivation of the Claudii, and perhaps of other _gentes_, shows that in their private life the aristocratic party were not so bigoted as for political purposes they chose to represent themselves. [3] As to the value of Fabius's work we have no good means of forming an opinion. Livy invariably speaks of him with respect, as _scriptorum longe antiquissimus_; and there can be little doubt that he had access to the best existing authorities on his subject. Besides the public chronicles and the archives of his own house, he is said to have drawn on Greek sources. Niebuhr, also, takes a high view of his merits; and the unpretending form in which he clothed his work, merely a bare statement of events without any attempt at literary decoration, inclines us to believe that so far as national prejudices allowed, he endeavoured to represent faithfully the facts of history.