Graham, Alexander: Roman Africa: an outline of the history of the Roman occupation of North Africa ; based chiefly upon inscriptions and monumental remains in that country (London [u.a.], 1902)

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Roman Africa

the promotion of art or the encouragement of the adornment
of cities than the later years of his reign. Since the time of
Tiberius the arts, especially that of architecture, had been re-
trograding, and it remained for Trajan, as an imperial builder,
to give an impetus to the erection of public works both in
Rome and the provinces, which should express the magnificence
of imperial rule. Trajan cannot be regarded as a lover of art,
but rather as a believer in art as an instrument of power and
as an expression of grandeur and nobility ; and though he is
credited with having rebuilt half the Roman world, he must
yield the palm to his successor as the greatest of building
emperors. The many-sided character of Hadrian's career has
proved an interesting study to the commentators of his time.
His success as a peaceful administrator was partly due to an
inherent desire to govern by negotiation rather than by force ;
but it may be attributed in a great measure to his intimate
acquaintance, with the habits and wants of the various races he
was called to rule over. This was especially the case with the
natives of his African provinces, who enjoyed a continuance of the
prosperity secured to them by Trajan. It is to Hadrian's credit
that he lightened taxation, promoted education, maintainec
thirty legions in different parts of the Empire, and left to his
successor a well-filled treasury. His career as an artist must be
taken seriously, for he not only had artistic perception of a high
order, but he made himself a master of the technicalities of the
various forms of art. The indulgence of building propensities,
which were displayed principally in Rome, in his country retreats,
and on the outskirts of Athens, formed the chief enjoyment o
his life. Wherever the Emperor went he left some conspicuous
mark of his taste in architectural art, and, consequently, when-
ever the spade of the explorer has brought to light the name o
Hadrian on some inscribed slab, we may expect to find some
ruined monumental building that had been raised in his honour.
There are many stories handed down to us of his controversies
with Apollodorus, the great architect of his time, and the
designer of the chief public buildings of his predecessor, but
they should be accepted with reserve. That Hadrian was vain
of his intellectual and artistic powers, and that Apollodorus was
proud of his skill and of a long succession of imperial favours, is
beyond controversy. But it is difficult to believe that blunt