estimated by his having had his portrait painted one hundred and twenty feet high, while he wrested five hundred statues from Delphi alone to adorn his Golden House. The amount of sculpture accumulated at Rome must have been immense. Marcus Scaurus decorated his temporary theatre with three thousand statues. Two thousand were taken from the Volscians; Lucullus captured many; and, after the conquest of Acaia, Mummius filled the city. Three thousand were added from Rhodes, and not fewer from Olympia, beside a multitude from Delphi and Athens. The imperial palaces and baths of Dioclesian and Caracalla, mausolea of Augustus, and of Hadrian, were stored with vast treasures stolen from rightful proprietors, or executed by inferior sculptors, beside rows of plastic art which lined the Flaminian way. But neither their abundance nor magnificence could produce that vivid impression on the refined which never failed to result from the study of pure taste and skill in their native home. Literature and art were never primary pursuits with the Romans, but secondary only and subordinate, adopted without fervor, and employed for their one great intent, the extension and consolidation of a martial empire. The honors which Greece bestowed on artists and authors, Rome gave only to soldiers of high or low degree. The former was forced into a provincial relation to the latter, but Rome was never more than a mental and artistic colony to the intellectual people thus reduced to political subjection. Grecian invention continued its admirable productions under the emperors of the new West, and at the same time furnished them literature, science, philosophy, religion, and the arts. Menelaus and Patrocles, Antigone and Hæmon, Pætus and Arria, Orestes and Electra, the Toro Farnese, and Laocoon, were sculptured between the middle of the Roman Republic and the last of the Cæsars. Before the lowest debasement of art had arrived, some few tolerable basso-relievos were also produced from Homer and the ancient tragedians, and were among the latest creations of free and legitimate art. Then came the cumbrous pediments, imperial statues, consular portraits, gems and coins, wrought by the dependent Greek, to feed the impious ambition or ignorant vanity of his insolent master during the latter ferocities of the empire.