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THE ARTS IN CONNEXION WITH THE STATE,2BS"We have ventured directlyto assert, that the arts in theirflourishing period belonged exclusively to public life ; andwere not, according to the general opinion, which seems tohave been silently adopted, divided between that and private life. Be it remembered, this is to be understood onlyof works of art, in the proper sense of the expression ;thatof is,those which had no other object but to be works ofart ;of statues, therefore, and pictures ;not of all kinds ofsculpture and painting. That the arts connected with private wants were appliedto objects of domestic life, to articles of household furniture, to candelabra, vases, tapestry,and garments,will be denied by no one, who is acquaintedwith antiquity.It was not till a Lucullus, a Verres, and others among theRomans, had gratifiedtheir taste as amateurs, that the artswere introduced into privatelife ;and yet even in Rome anAgrippa could propose to restore to the allpublic the treasures of the arts, which lay buried in the villas. We 1shouldnot therefore be astonished, if under such circumstances theancient destination of artsamong the Greeks should havebeen changed, and they should have so far degenerated asto become the means of gratifyingthe luxury of individuals.And yet this never took place.This can be proved as wellof the mother country, as of the richest of the colonies.Pausanias, in the second century after the Christian era,travelled through all Greece, and saw and described all theworks of art which existed there. And yetI know of noone instance in all Pausanias of a work of art belonging toa privateman ;much less of whole collections. Every thingwas in his day, as before, public in the temples, porticos, andsquares.If private persons had possessed works of art, whowould have prevented his describing them ?Verres plundered Sicily of its treasures in the arts, wherever he could find them ;and his accusers will hardly beBut in, this acsuspected of having concealed any thing.cusation, with one single exception/ none but public worksdividuals became for the same reason so much, more numerous, has been illustrated by the same scholar in his Andeutungen, s. 183, etc.1Pin. xxxv. cap. ix,2Namely, the four statues which he took from Heios. Cic* in Verran n.iv. 2. Yet they stood in a chapel (sacrarium), and were therefore in a certain measure public.The name of Heius seems, however, to betray that the