In Rome, however, there was always a strong admixture of barbaric blood, and, to the last, the barbarians married for love. Justinian was an example. Born of an obscure race of barbarians in the desolate Bulgarian country, he fell uncontrollably in love with Theodora, who had scandalized even the theatres of Constantinople. His mother died of shame; but Justinian persevered, and, while she lived, his devotion to his wife never wavered. In Rome and in Byzantium such women were the stronger or the more fortunate; their counterparts are easily to be found in any economic age. The fate of the weaker there was slavery; now they are forced by competition into the ranks of the cheapest labour,--a lot, perhaps, hardly preferable. And yet art, perhaps, even more clearly than religion, love, or war, indicates the pathway of consolidation; for art reflects with the subtlest delicacy those changes in the forms of competition which enfeeble or inflame the imagination. Of Greek art, in its zenith, little need be said; its great qualities have been too fully recognized. It suffices to point out that it was absolutely honest, and that it formed a vehicle of expression as flexible as the language itself. A temple apparently of marble, was of marble; a colonnade apparently supporting a portico, did support it; and, while the ornament formed an integral part of the structure, the people read it as intelligently as they read the poems of Homer. Nothing similar ever flourished in Rome. Unlike the Greeks, the Romans were never sensitive or imaginative. Properly speaking, they had nothing which they could express through art; they were utilitarian from the outset, and their architecture finally took shape in the most perfect system of materialistic building which, probably, has ever existed. Obviously such a system could only be matured in a capitalistic society, and, accordingly, Roman architecture only reached perfection somewhat late, perhaps, toward the close of the first century.