it is also to some extent excused by the fact that the craftsmanship, however consummate, was not at this period accompanied by the originality of the great Greek times from which it borrowed.  Much of the work—­particularly perhaps in painting and metal-chasing—­was done by slaves.  Apart from this consideration, the studios were so numerous and taught so well, that there must have been thousands of persons working either alone or co-operatively, whose position, however excellent the performance, became analogous to that of a house-decorator.  On a wall to be painted in fresco a number of painters would be employed together.  Throughout the Roman world, wherever works of art were wanted, the professional would travel, often with his assistants, and take up a contract.  In modern parlance, the communities requiring some monument of art “called for tenders” and were prone to accept the lowest.

Whatever abundance of art the Roman world cultivated and possessed; however indispensable to a public place was a wealth of buildings with lavish decoration of sculptured pillars, of statues, or of triumphal arches; however necessary to a private house were originals, supposed originals, and copies in the way of statuary, paintings, bronzes, mosaics, and other means of artistic adornment; it is very doubtful whether any large number of Romans entertained that spontaneous enjoyment of the beauty of art which is known as genuine “artistic feeling.”  In their literature we look in vain for any expression of enthusiasm on the subject.  There are many references to works of art, but none which possess any intense glow of warmth.  Doubtless art was so abundant that, as has already been said in reference to the appreciation of natural beauty, the absence of “gush” need not indicate absence of real enjoyment.  Enjoyment there was, but it was apparently for the most part the enjoyment either of the collector or of the man who realises that an appreciation of art demands a large place in culture, and who is determined to be as well supplied and as well informed as his neighbour, while his judgment of a piece of work, though far from unintelligent, and often excellent in regard to principles of design and technical execution, is mainly the result of a deliberate training and cult, and is in consequence somewhat chill and detached.

[Illustration:  FIG. 119.—­LYRE AND HARP.]

Of music the Romans were passionately fond, but the music itself was of a description which perhaps would hardly commend itself to modern notions, particularly those of northern Europe.  The instruments in use were chiefly the harp, the lyre, and the flageolet (or flute played with a mouthpiece).  To these we may add for processions the straight trumpet and the curved horn, and, for more orgiastic occasions or celebrations, the panpipes, cymbals, and tambourine or kettledrum.  Performers from the East played upon certain stringed instruments not greatly differing from the lyre and harp of Greece and Italy.  Women