In the sphere of the constructive and plastic arts the climate itself called forth various phenomena unknown, or known only in their germs, to the south proper. Thus the heating of the air, which in Italy was usual only for baths, and the use of glass windows, which was likewise far from common there, were comprehensively brought into application in Gallic architecture. But we may perhaps speak of a development of art peculiar to this region, in so far as figures and, in progress of time, representations of scenes of daily life emerge in the Celtic territory with relatively greater frequency than in Italy, and replace the used-up mythological representations by others more pleasing. It is certainly almost in the sepulchral monuments alone that we are able to recognise this tendency to the real and the _genre_, but it doubtless prevailed in the practice of art generally. The arch of Arausio (Orange), from the early imperial period, with its Gallic weapons and standards; the bronze statue of the Berlin museum found at Vetera, representing apparently the god of the place with ears of barley in his hair; the Hildesheim silver-plate, probably proceeding in part from Gallic workshops, show a certain freedom in the adoption and transformation of Italian suggestions. The tomb of the Julii at St. Remy, near Avignon, a work of the Augustan age, is a remarkable evidence of the lively and spirited reception of Hellenic art in southern Gaul, as well in its bold architectural structure of two square storeys crowned by a peristyle with conic dome, as also in its reliefs which, in style most nearly akin to the Pergamene, present battle and hunting scenes with numerous figures, taken apparently from the life of the persons honoured, in picturesque animated execution. It is remarkable that the acme of this development is reached--by the side of the southern province--in the district of the Moselle and the Maas. This region, not placed so completely under Roman influence as Lyons and the headquarter-towns on the Rhine, and more wealthy and civilised than the districts on the Loire and the Seine, seems to have in some measure produced of itself this exercise of art. The tomb of a man of rank in Treves, well known under the name of the Igel Column, gives a clear idea of the tower-like monuments, crowned with pointed roof and covered on all sides with representations of the life of the deceased, that are here at home. Frequently we see on them the landlord, to whom his peasants present sheep, fish, fowls, eggs. A tombstone from Arlon, near Luxemburg, shows, besides the portraits of the two spouses, on the one side a cart and a woman with a fruit-basket, on the other a sale of apples above two men squatting on the ground. Another tombstone from Neumagen, near Treves, has the form of a ship; in this sit six mariners plying the oars; the cargo consists of large casks, alongside of which the merry-looking steersman seems--one might imagine--to be