The public games of Greece were peaceful and intellectual, adapted as much to invigorate moral strength as to develop manly beauty. Those of Rome were exhibitions, not of mental, but of physical energy, and were both sanguinary and brutalizing. The former were often theatrical to an exalted degree, but never amphitheatrical, as was always the case with the latter. The tragic feeling of Greece is represented by the sculptured grief of Niobe, that of Rome by the death-struggles which distort the features and muscles of Laocoon. The latter work, together with the Tauro Farnese, the Dying Gladiator, the Gladiator of Agesias, and several kindred works, were all executed in the Augustan age, some of them at a late period. The Meleager and Mercury of the Vatican, the Venus of Capua, and the Ludovisi Mars, must also be regarded as the productions of Greek art, so modified as to please Roman taste. What a radical change was wrought in sculpture, in its westward progress, is best exemplified in the colossal Nile and Tiber of the Vatican and Louvre. It is obvious that these representations of river-gods are based on that original Greek type which was so nobly embodied in the Ilissus of the Parthenon; the general reclining attitude is the same, but the whole motive of the art is altered; new symbols and accessories are added, to express an inferior idea in more copious but less eloquent language. The same general statement applies to the numerous allegorical figures which are preserved in Italian galleries, with the collateral illustration of Roman coins. Augustan art was formed from Greek models, in the same time and mode as Augustan literature, with one important exception. The latter was engrafted on an original stock of ballad-poetry, the process of adaptation being their own work; but Greek art was transferred rather than engrafted, the cultivation of the exotic being entrusted to strangers and hirelings. Augustan letters were formed by the Romans themselves, Augustan sculptures by Greek artists working under Roman dictation. The monuments of Rome afford the best examples on a great scale of the historic style of sculpture peculiar to that people, which is valuable in reference to their portrait art, a collateral department, such as biography is to general history. The series of busts in the Vatican, the Capitol, the Museo Borbonico, and at Florence, show how successfully this class of art was cultivated down to a very late period of the empire. The Roman sarcophagi form a distinct order of monuments, and are also of the later period. The bas-reliefs with which they are decorated generally, are borrowed from Greek myths, such as the story of Niobe, but in treatment, the delicate wisdom of the original is gradually ignored.