DOI Page / Citation link:
https://doi.org/10.11588/diglit.5596#0086
62
ANCIENT ART.
in Grecian countries, but they are not their own,
they are the proceeds of conquest and of spoil.
We have witnessed the losses sustained by the
Greek cities at their overthrow. The conquerors
returned to Rome, bringing with them in tri-
umphant entry the statues of their conquered
nations. On the entry of M. Fulvius, that general
brought with him from ^Etolia, two hundred and
eighty-five brazen, and two hundred and thirty
marble statues ; while the triumph of Paulus JElmy-
lius is described as being yet more magnificent.
It occupied three days, one of which was devoted ■
to the procession of colossal and other images borne
on two hundred and fifty carriages. Two thousand
statues are said to have been removed from Volsci.1
In the triumph of Antigonus, king of Syria, a
countless number of statues were carried in proces-
sion, each of which was dressed in robes of gold
and silver, and the fingers decorated with rings.
In the Dionysiac festival of Ptolemy Philadelphus
at Alexandria, an immense number of statues and
colossal figures were drawn on cars of a prodigious
structure.2 In the triumph of Antiochus Epiphanes,
a countless number of gods were carried in proces-
1 Even in Greek times it was customary to rob the conquered
countries of their images, though they usually respected the
statues of the gods.
2 "We may form some idea of the excellence of Greek painting
■when we are told that notwithstanding all these statues, what
was admired most were the superb paintings from Sicyon.
ANCIENT ART.
in Grecian countries, but they are not their own,
they are the proceeds of conquest and of spoil.
We have witnessed the losses sustained by the
Greek cities at their overthrow. The conquerors
returned to Rome, bringing with them in tri-
umphant entry the statues of their conquered
nations. On the entry of M. Fulvius, that general
brought with him from ^Etolia, two hundred and
eighty-five brazen, and two hundred and thirty
marble statues ; while the triumph of Paulus JElmy-
lius is described as being yet more magnificent.
It occupied three days, one of which was devoted ■
to the procession of colossal and other images borne
on two hundred and fifty carriages. Two thousand
statues are said to have been removed from Volsci.1
In the triumph of Antigonus, king of Syria, a
countless number of statues were carried in proces-
sion, each of which was dressed in robes of gold
and silver, and the fingers decorated with rings.
In the Dionysiac festival of Ptolemy Philadelphus
at Alexandria, an immense number of statues and
colossal figures were drawn on cars of a prodigious
structure.2 In the triumph of Antiochus Epiphanes,
a countless number of gods were carried in proces-
1 Even in Greek times it was customary to rob the conquered
countries of their images, though they usually respected the
statues of the gods.
2 "We may form some idea of the excellence of Greek painting
■when we are told that notwithstanding all these statues, what
was admired most were the superb paintings from Sicyon.