A revival of native art went hand in hand with this linguistic awakening. In no field of intellect has the illusion mentioned above been so complete and lasting as in this one. Until a few years ago the opinion prevailed that an "imperial" art had come into existence in the Rome of Augustus and that thence its predominance had slowly spread to the periphery of the ancient world. If it had undergone some special modifications in Asia these were due to exotic influences, undoubtedly {8} Assyrian or Persian. Not even the important discoveries of M. de Voguee in Hauran[9] were sufficient to prove the emptiness of a theory that was supported by our lofty conviction of European leadership. To-day it is fully proven not only that Rome has given nothing or almost nothing to the Orientals but also that she has received quite a little from them. Impregnated with Hellenism, Asia produced an astonishing number of original works of art in the kingdoms of the Diadochs. The old processes, the discovery of which dates back to the Chaldeans, the Hittites or the subjects of the Pharaohs, were first utilized by the conquerors of Alexander's empire who conceived a rich variety of new types, and created an original style. But if during the three centuries preceding our era, sovereign Greece played the part of the demiurge who creates living beings out of preexisting matter, during the three following centuries her productive power became exhausted, her faculty of invention weakened, the ancient local traditions revolted against her empire and with the help of Christianity overcame it. Transferred to Byzantium they expanded in a new efflorescence and spread over Europe where they paved the way for the formation of the Romanesque art of the early Middle Ages.[10] Rome, then, far from having established her suzerainty, was tributary to the Orient in this respect. The Orient was her superior in the extent and precision of its technical knowledge as well as in the inventive genius and ability of its workmen. The Caesars were great builders but frequently employed foreign help. Trajan's principal architect, a magnificent builder, was a Syrian, Apollodorus of Damascus.[11] {9} Her Levantine subjects not only taught Italy the artistic solution of architectonic problems like the erection of a cupola on a rectangular or octagonal edifice, but also compelled her to accept their taste, and they saturated her with their genius. They imparted to her their love of luxuriant decoration, and of violent polychromy, and they gave religious sculpture and painting the complicated symbolism that pleased their abstruse and subtle minds.