dicule their ancient statues in clay; Greek art was
gradually transferred to Rome; Greek artists began to abound there,
and the history of Roman art was thenceforward confounded with that of
the vicissitudes of Greek art. The style of the works of sculpture
under the first Emperors may be considered as a continuation and
sequel of the development of Greek sculpture. These works, more
particularly the portrait statues, which were the prevailing works of
this period, exhibit a great deal of force and character, though a
want of care is visible in some parts, especially in the hair. The
characters of the heads always bear out the descriptions which
historians have given of the person they belong to, the Roman head
differing essentially from the Greek, in having a more arched
forehead, a nose more aquiline, and features altogether of a more
decided character. It may be observed, however, as a general remark,
that the Roman statues are of a thicker and more robust form, with
less ease and grace, more stern, and of a less ideal expression than
Greek statues, though equally made by Greek artists. Under Augustus,
and the following Roman Emperors, to meet the demand for Greek statues
to embellish their houses and villas, several copies and imitations of
celebrated Greek works were manufactured by the sculptors of the age.
The Apollo Belvidere, the Venus of the Capitol, and several copies of
celebrated Greek works, in various Museums, such as the Faun, Cupid,
Apollo Sauroctonos, and Venus of Praxiteles, the Discobolos of Myron,
and several works of Scopas and Lysippus, are supposed to be of this
age. Archaeologists are now generally agreed in thinking that the
Apollo Belvidere is only a copy of a Roman period of a very fine Greek
statue of about the beginning of the third century B.C., and that the
original was in bronze. Another copy has been identified in a bronze
statuette now in St. Petersburg, known as the Stroganoff Apollo. From
this statuette it is found that the Apollo Belvidere held forward in
his left hand, not a bow as was thought, but the _aegis_, in the
attitude of spreading consternation among an enemy. The production of
this statue is generally assigned to the period after the invasion of
the Gauls, whom, in 278 B.C., the god drove in alarm from his
sanctuary, at Delphi. (A cut of Apollo Belvidere is seen on page 495.)

Of the Faun of Praxiteles there are two copies in the Vatican, but
both are inferior to that in