"The reign of Augustus was the golden age of science and the fine arts.
Grecian architecture at that period was so encouraged at Rome, that
Augustus could with reason boast of having left a city of marble where
he had found one of brick. In the time of the Cæsars, fourteen
magnificent aqueducts, supported by immense arches, conducted whole
rivers to Rome, from a distance of many miles, and supplied 150 public
fountains, 118 large public baths, besides the water necessary for those
artificial seas in which naval combats were represented: 100,000 statues
ornamented the public squares, the temples, the streets, and the houses;
90 colossal statues raised on pedestals; 48 obelisks of Egyptian
granite, besides, adorned various parts of the city; nor was this
stupendous magnificence confined to Rome, or even to Italy. All the
provinces of the vast empire were embellished by Augustus and his
successors, by the opulent nobles, by the tributary kings and the
allies, with temples, circuses, theatres, palaces, aqueducts,
amphitheatres, bridges, baths, and new cities. We have, unfortunately,
but scanty memorials of the architects of those times; and, amidst the
abundance of magnificent edifices, we search in vain for the names of
those who erected them. However much the age of Augustus may be exalted,
we cannot think it superior, or even equal to that of Alexander: the
Romans were late in becoming acquainted with the arts; they cultivated
them more from pride and ostentation than from feeling. Expensive
collections were frequently made, without the possessors understanding
their value; they knew only that such things were in reputation, and, to
render themselves of consequence, purchased on the opinion of others. Of
this, the Roman history gives frequent proofs. Domitian squandered seven
millions in gilding the temple of Jupiter Capitolinus only, bringing
from Athens a number of columns of Pentelic marble, extremely beautiful,
and of good proportion, but which were recut and repolished, and thus
deprived of their symmetry and grace. If the Romans did possess any
taste for the fine arts, they left the exercise of it to the
conquered--to Greece, who had no longer her Solon, Lycurgus,
Themistocles, and Epaminondas, but was unarmed, depressed, and had
become the slave of Rome. 'Græcia capta ferum victorem cepit.' How poor
are such triumphs to those gained by the fine arts! The means by which
Greece acquired and maintained such excellence, is worthy of an inquiry.
It is generally allowed that climate and government have a powerful
influence on the intellect. Greece was peculiarly favored in these two
points; her atmosphere was serene and temperate, and being divided into
a number of small, but independent states, a spirit of emulation was
excited, which continually called forth some improvement in the liberal
arts. The study of these formed a principal branch of education in the
academies and schools, to which none but the free youth were admitted.
To learning alone was the tribute of applause offered. At those solemn
festivals to which all Greece resorted, whoever had the plurality of
votes was crowned in the presence of the whole assembly, and his efforts
afterwards rewarded with an immense sum of money; sometimes a million of
crowns. Statues, with inscriptions, were also raised to those who had
thus distinguished themselves, and their works, or whatever resembled
them, for ever after bore their names; distinctions far more flattering
than any pecuniary reward. Meticus gave his to a square which he built
at Athens, and the appellation of Agaptos was applied to the porticos of
the stadium. Zeuxis, when he painted Helen, collected a number of
beautiful women, as studies for his subject: when completed, the
Agrigentines, who had ordered it, were so delighted with this
performance, that they requested him to accept of five of the ladies.
Thebes, and other cities, fined those that presented a bad work, and
looked on them ever afterwards with derision. The applause bestowed on
the best efforts, was repeated by the orators, the poets, the
philosophers, and historians; the Cow of Miron, the Venus of Apelles,
and the Cupid of Praxiteles, have exercised every pen. By these means
Greece brought the fine arts to perfection; by neglecting them, Rome
failed to equal her; and, by pursuing the same course, every country may
become as refined as Greece."--_Milizia._