endid; and in particular transmarine, especially Hymettian,
marble (Cipollino) came into use for that purpose--the Italian
marble quarries were not yet in operation. A magnificent colonnade
still admired in the time of the empire, which Quintus Metellus
(consul in 611) the conqueror of Macedonia constructed in the
Campus Martius, enclosed the first marble temple which the capital
had seen; it was soon followed by similar structures built on the
Capitol by Scipio Nasica (consul in 616), and near to the Circus by
Gnaeus Octavius (consul in 626). The first private house adorned
with marble columns was that of the orator Lucius Crassus (d. 663)
on the Palatine.(42) But where they could plunder or purchase,
instead of creating for themselves, they did so; it was a wretched
indication of the poverty of Roman architecture, that it already
began to employ the columns of the old Greek temples; the Roman
Capitol, for instance, was embellished by Sulla with those of the
temple of Zeus at Athens. The works, that were produced in Rome,
proceeded from the hands of foreigners; the few Roman artists of
this period, who are particularly mentioned, are without exception
Italian or transmarine Greeks who had migrated thither. Such was
the case with the architect Hermodorus from the Cyprian Salamis,
who among other works restored the Roman docks and built for
Quintus Metellus (consul in 611) the temple of Jupiter Stator
in the basilica constructed by him, and for Decimus Brutus (consul
in 616) the temple of Mars in the Flaminian circus; with the sculptor
Pasiteles (about 665) from Magna Graecia, who furnished images
of the gods in ivory for Roman temples; and with the painter
and philosopher Metrodorus of Athens, who was summoned to paint
the pictures for the triumph of Lucius Paullus (587). It is
significant that the coins of this epoch exhibit in comparison
with those of the previous period a greater variety of types,
but a retrogression rather than an improvement in the cutting
of the dies.

Finally, music and dancing passed over in like manner from Hellas
to Rome, solely in order to be there applied to the enhancement of
decorative luxury. Such foreign arts were certainly not new in
Rome; the state had from olden time allowed Etruscan flute-players
and dancers to appear at its festivals, and the freedmen and
the lowest class of the Roman people had previously followed
this trade. But it was a novelty that Greek dances and mus