The elevation to which the arts in Greece arrived was owing to the
concurrence of various circumstances. The imitative arts, we are told,
in that classic country formed a part of the administration, and were
inseparably connected with the heathen worship. The temples were
magnificently erected, and adorned with numerous statues of pagan
deities, before which, in reverential awe, the people prostrated
themselves. Every man of any substance had an idol in his own
habitation, executed by a reputed sculptor. In all public situations the
patriotic actions of certain citizens were represented, that beholders
might be induced to emulate their virtues. On contemplating these
masterpieces of art, which were so truly exquisite that the very coldest
spectator was unable to resist their _almost magical_ influence, the
vicious were reclaimed, and the ignorant stood abashed. Indeed, it has
often been asserted, that the statues by Phidias and Praxiteles were so
inimitably executed, that the people of Paros adored them as living
gods. Those artists who performed such extraordinary wonders as these
were held in an esteemed light, of which we cannot form the least idea.
We are certain they were paid most enormous prices for their
productions, and consequently could afford to adorn them with every
beauty of art, and to bestow more time on them than can ever be expected
from any modern artist.

As soon as the arts had arrived at their highest pitch of excellency in
Greece, the country was laid waste by the invading power of the Romans.
All the Greek cities which contained the greatest treasures were
demolished, and all the pictures[5] and statues fell into the hands of
the victorious general, who had them carefully preserved and conveyed
from the land where they had been adored. Of the estimation in which
these great works were held by the Romans, we may form some idea by the
general assuring a soldier, to whose charge he gave a statue by