death, Tiberius consecrated it to his memory, in the temple dedicated to him.

The Romans did not hesitate to carry off everything appertaining to the fine arts in the countries they conquered. The greatest influx of Greek pictures into Rome, at any one time, was during the edileship of Scaurus, when, on account of a real or pretended debt owing by the people of Sicyon to Rome, all the valuable pictures in that city were seized and conveyed to Italy. Such were a few of the many pictures, the spoils of war, which were carried to Rome, to adorn the temples, palaces, and public places, not to speak of those which decorated the villas of persons of rank and taste.

ETRUSCAN SCULPTURE.

The Romans were so fond of Etruscan statues that they collected them from all quarters. At the taking of Volsinum (now Bolsena), they removed two thousand bronze statues to Rome. The Etrus cans were also much employed by the Romans to make bronze statues of their divinities and great personages. One of the most ancient remaining works executed by them for Rome, is the bronze Wolf, "the thunder-stricken nurse of Rome," preserved in the Capitol, and of which Micali has given an excellent figure. There was a colossal Etruscan Apollo, fifty feet high, placed in the library of the Temple of Augustus, "the bigness of which," says Pliny, "is not so remarkable as the material and the

workmanship; for hard it is to say whether is most admirable, the beautiful figure of the body, or the exquisite temperature of the metal." There was also a colossal Jupiter of the Capitol, cast by Corovillius out of the brazen armor taken from the dead bodies of the conquered Samnites. Pliny says the first bronze statue cast in Rome, was that of the goddess Ceres, the expense of which was defrayed by the forfeited goods of Spurius Capius, who was put to death for aspiring to the dignity of king.

CAMPUS MARTIUS.

The Campus Martius was a large plain without the city of Rome, which was adorned with a multitude of statues, the spoils of war; also with columns, arches, and porticos. The public assemblies were held there, the officers of state chosen, and audience given to foreign ambassadors; there, also, the Roman youths performed their exercises, learned to wrestle and box, to throw the discus, hurl the javelin, ride a horse, drive a chariot, etc.

ELECTIONEERING PICTURES AT ROME.

The Roman commanders made a singular use of painting to advance their interests. Their inordinate love of military fame discovered a mode of feeding that ruling passion by means of this charming art. According to Valerius Maximus, Massala was the first who, when he offered himself for the consulship, instead of sitting in the market-place,

dressed in the white robe of humility, and pointing to his wounds like Coriolanus,

"Show them the scars that I would hide,
As if I had received them for the hire
Of their breath only,"

caused a picture to be hung up in the portico Hostilia, representing the battle of Messana, where he had vanquished both the Carthagenians and Syracusans. The picture told the story of his achievements to the best advantage, and secured his election. Scipio Africanus was greatly incensed against his brother, Lucius Scipio, for placing in the Capitol a picture of the battle near Sardis, which won him the title of Asiaticus, but in which, his nephew, the son of Africanus, was taken prisoner. Again, Scipio Emilianus was highly offended at the display of a picture of the Taking of Carthage, exhibited in the market-place by Lucius Hostilius Mancinus. It appears that Mancinus was the first to enter the city, and on his return to Rome, being desirous of the consulship, he had a picture painted, representing the situation of the town, its strong fortifications, all the machines used in the attack and defense, and the actions of the besiegers, in which care was taken that those of Mancinus should be most conspicuous. This he hung up in the Forum, and personally explained to the people in such a manner, that he won their good will, and gained the consulship. We learn from Quintilian that the

lawyers of Rome often made use of pictures in their pleadings for the purpose of moving the judges.

DRAMATIC SCENERY AT ROME.

It is related that when Claudius Pulcher, during his edileship, exhibited dramas publicly at Rome, the scenery, representing trees, houses and other buildings was so naturally depicted, that the ravens and other birds came to perch upon them. Many such anecdotes are related as having occurred in all ages of the history of the art, but they are not so sure a test of excellence as people generally imagine, for animals are easily deceived. The writer has made experiments to satisfy himself on this point; he has seen a whiffet dog bark obstreperously at the portrait of a person it disliked; birds approach a picture of fruit, and bees one of flowers. He has a picture of three dogs, so naturally painted, that almost every dog, admitted into the room, not only looks at it, but endeavors to smell of it. Every sportsman knows that it is easy to decoy wild ducks with an artificial one.

APELLES OF EPHESUS AND PTOLEMY PHILOPATOR.

During a voyage in the eastern part of the Mediterranean, Apelles was driven into Alexandria, in Egypt, by stress of weather. Not being in favor with king Ptolemy, he did not venture to appear at the court; but some of his enemies suborned one of the royal buffoons to invite him to supper in the

king's name.

Apelles attended accordingly, but Ptolemy, indignant at the intrusion, demanded by whom he had been invited; whereupon the painter, seizing an extinguished coal from the hearth, drew upon the wall the features of the man who had invited him, with such accuracy, that the king, even from the first lines, immediately recognized the buffoon, and thenceforth received Apelles into his fa

vor.

APELLES' FAMOUS PICTURE OF CALUMNY.

According to Lucian, the reputation of Apelles, and the favor he enjoyed at the court of Ptolemy, excited the jealousy of Antiphilus, a celebrated Egyptian painter, who unjustly accused him of having participated in the conspiracy of Theodotus of Tyre. Apelles was thrown into the dungeon, and treated with great severity, but his innocence being clearly established, Ptolemy endeavored to make reparation, presented him with one hundred talents, and condemned Antiphilus to be his slave. Apelles, however, was not satisfied with this reparation, and on returning to Ephesus, painted in retaliation his famous picture of Calumny, in which Ptolemy acted a principal part. Lucian saw this picture, and thus describes it:

"On the right, is seated a person of magisterial authority, to whom the painter has given ears like Midas, who holds forth his hand to Calumny, as if inviting her to approach. He is attended by Ig.