The greatest influx of Greek artists Into Italy occurred when Augustus had obtained the sovereignty, though earlier than this period there had been some eflinta made by individual Romans to introduce a taste for art among their countrymen. A slight general view of what had been effected in this respect, or rather, of the means used to effect this end, will not be out of place here, as introductory to the examination of what has been called Itonum sculpture ; but the art never appears to have been naturalised among this people., and, as will be seen, it was always rather an exotic in Rome, nursed and tended by its own natural cultivators, Greek sculptors, than a growth brought to any perfection by the people in whose stranger soil it had accidentally, and almost forcibly, been planted.
Roman Scrdpture.—It is not easy to determine when the Romans began to pay attention to the arts of painting and sculpture. For a long period they were too much occupied iu insuring their safety and strengthening and extending their state, to think of arts which they could then only have looked upon as unworthy of a warlike people. Their first public monuments were doubtless trophies. The trunk of a tree, stripped of its branches, and bearing the arms of the vanquished, proclaimed the achievement of the victor, and at the same time incited the young Roman to exertion in his country's cause. The sculpture mentioned as existing in Rome at a very early date was, there can be no doubt, of foreign growth, the production of their neighbours the Etrurians ; and the celebrated she-wolf still existing in the Capitol, one of the most ancient and interesting monuments, whether considered historically, or as an example of early bronze sculpture, may fairly be attributed to that people.
It is recorded that after the victories of Camillus and 31ienitis over the Latina, equestrian statues were erected in Rome in their honour. This was above 350 years before our era, or about 405 years after the building of Rome. In the 3rd century B.c. one of the Fabii devoted himself to the arts, and acquired, from his success, the surname of Pieter. Pliny (‘ Hist. Nat.,' xxxv. 4) says that he decorated with his paintings the temple of the goddess of Health at Rome, and that the pictures existed in his time. A bronze statue of Apollo, made out of spoils taken from the Samnitee, is said to have been dedicated in the Capitol about this period. After the conquest of Syracuse by Marcellus, Rome became enriched with the spoils which fell into the hands of the victors. The reply of Marcellus, when he was accused of rapacity for stripping the conquered city of its works of art, is remarkable : he declared he had done it in order that the public edifices of Rome might be ornamented, and also to introduce among his countrymen a taste for the arts end elegance for which the Greeks were so distin guished. The power and greatness of Rome were now being extended
in all directions; and, by some caprice of fancy, generated probably by the facilities that were offered for its gratification, it became a rage to collect specimens of sculpture. Notwithstanding the opportunities thus offered for acquiring some knowledge of the beauties of art, from the mere habit of having the most exquisite examples of sculpture brought before them, it does not appear that any decided taste dis covered itself till about 86 years B.C. Sulfa, in his victorious march through Greece, destroyed several of the most magnificent temples and monuments of that country; but lie also collected a great quantity of spoil, which he forwarded to Rome, and which consisted chiefly of the fine works which were preserved in the temples or adorned the public places. This enormous accumulation of such objects seems at length to have aroused in the Itomane some feeling of admiration favourable to the existence, at least, of art in their own country. The fashion, or rather passion, to form collections at any price increased. Verres is handed down to posterity among the most zealous and at the sante time the most lawless of dilettanti; but the character of the works ho possessed, several of which are mentioned by Cicero in his celebrated orations against the rapacious pr:etor of Sicily, gives hint a claim to be considered fully capable of appreciating excellence in art. The 11110111)9 that he adopted for gratifying his taste merit the severest condemna tion ; but be probably preserved from neglect and destruction many of the most valuable monuments of sculpture.
In the last century before Christ various sculptors of distinguished name were resident in Rome, or were practising their art in other tarts of Italy. Among these may particularly be mentioned Pasitelee, Areesilasi or Arcesilaus, the author of a group of boys with a lioness; Saurus and Batrachus, Strongylion, Olympiosthenea, and Evander. Arcesilaus was much employed by Luddites. Strongylion is honour ably mentioned for a fine statue of an Amazon, 90 beautifully formed in the legs that it was called Eta:nettles. He also made some statues of Muses ; and Pausanias, who alludes to them, adds he was 'BMA skilful in his representations of animals. Olympiosthencis also executed three Muses. Pliny speaks in the highest terms of the merit of Pasiteless. He became a Roman citizen, and among his works is men tioned a statue of Jupiter, of ivory, which was placed in the temple (cede) of Mettillus. It is to be regretted that a literary work of this artist, mentioned by Pliny, no longer exists. lle says, " Pwiteles wrote five volumes containing descriptions of the most remarkable works in the whole world." Such a record from an artist of the diameter of Pasiteles would be a treasure.