House and Garden 
World during the three centuries and a 
half that extend from the close of the 
Republic to Constantine—from the rise 
of the Imperial idea to the victory of 
Christianity. She says: “I have my¬ 
self long ceased to look upon Rome as 
the sole or exclusive seat of artistic 
production, or even of artistic influence, 
during that period, but 1 regard her as 
the main center whence radiated the 
ideas which animated or refashioned 
art throughout the contemporary civil¬ 
ized world. I venture to deplore, with 
Riegel, the materialistic distrust of all 
spiritual factors, which obtains in the 
modern science of archaeology. Not 
that I would advocate a return to a 
prescientific interest in subjects alone, 
or to a Ruskinian toleration of bad and 
poor works of art, for the sake of sub¬ 
jects that appeal to our fancy. But 
the measure of artistic achievement is in 
proportion to its success in expressing 
the thoughts and themes which inspire 
it. This little book, accordingly, at¬ 
tempts to indicate the nature of the 
impulse which takes its flight from 
Rome, though I have barely discussed 
the local colouring of art in the different 
countries under Roman sway. During 
a recent visit to Athens, for instance, I 
became convinced that a much-needed 
book could be written on ‘Graeco- 
Roman Art’ in the true sense of the 
word: that is, on Roman artistic ideas 
working through a more distinctly 
Greek medium than was the case else¬ 
where. Yet in the present book I have 
scarcely tried to differentiate even be¬ 
tween the two broad classes of sarco¬ 
phagi executed in Greece and of those 
executed in Rome or in Italy. My pres¬ 
ent purpose being to stimulate amongst 
students interest for a period forgotten 
and neglected, I have thought it suffi¬ 
cient to point to the leading charac¬ 
teristics which envelop and dominate 
art wherever the Roman spirit pene¬ 
trated.” 
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