300 PROFESSIONAL INSTITUTIONS. 



As showing the course of professional development it may 

 be remarked that though, in archaic Greek sculpture, the 

 modes of representing the various deities were, as in Egypt 

 and India, so completely fixed in respect of attitudes, cloth 

 ing, and appurtenances that change was sacrilege, the art of 

 the sculptor, thus prevented from growing while his semi- 

 priestly function was under priestly control, simultaneously 

 began to acquire freedom and to lose its sacred character 

 when, in such places as the pediments of temples, figures 

 other than divine, and subjects other than those of worship, 

 came to be represented. Apparently through transitions 

 of this kind it was that sculpture became secularized. Men 

 engaged in chiselling out statues and reliefs in fulfilment 

 of priestly dictates were regarded simply as a superior class 

 of artisans, and did not receive credit as artists. But when, 

 no longer thus entirely controlled, they executed works inde 

 pendently, they gained applause by their artistic skill and 

 &quot; became prominent celebrities, whose studios were fre 

 quented by kings.&quot; 



To the reasons, already more than once suggested, why in 

 Home the normal development of the professions was broke] i 

 or obscured, may be added, in respect of the profession of 

 sculptor, a special reason. Says Mommsen: 



&quot;The original Roman worship had no images of the gods or houses 

 set apart for them; and although the god was at an early period 

 worshipped in Latiurn, probably in imitation of the Greeks, by means 

 of an image, and had a little chapel (aedicula) built for him, such a 

 figurative representation was reckoned contrary to the laws of Nu- 

 ma.&quot; 



The appended remark that the representation of the gods 

 was &quot; generally regarded as an impure and foreign innova 

 tion &quot; appears to be in harmony with the statement of 

 Duruy. 



&quot;Even after the Tarquins, the images of the gods, the work of 

 Etruscan artists, were still made only in wood or clay, like that of 

 Jupiter in the Capitol, and like the quadriga placed on the top of the 

 temple.&quot; 



