of the seventh century.  This was done first by the younger Cato (d. about 600) and by Marcus Brutus (nearly contemporary); and these collections were, as it would appear, arranged in the order of matters.(39) A strictly systematic treatment of the law of the land soon followed.  Its founder was the -pontifex maximus- Quintus Mucius Scaevola (consul in 659, d. 672),(40) in whose family jurisprudence was, like the supreme priesthood, hereditary.  His eighteen books on the -Ius Civile-, which embraced the positive materials of jurisprudence—­legislative enactments, judicial precedents, and authorities—­partly from the older collections, partly from oral tradition in as great completeness as possible, formed the starting-point and the model of the detailed systems of Roman law; in like manner his compendious treatise of “Definitions” (—­oroi—­) became the basis of juristic summaries and particularly of the books of Rules.  Although this development of law proceeded of course in the main independently of Hellenism, yet an acquaintance with the philosophico-practical scheme-making of the Greeks beyond doubt gave a general impulse to the more systematic treatment of jurisprudence, as in fact the Greek influence is in the case of the last-mentioned treatise apparent in the very title.  We have already remarked that in several more external matters Roman jurisprudence was influenced by the Stoa.(41)

Art exhibits still less pleasing results.  In architecture, sculpture, and painting there was, no doubt, a more and more general diffusion of a dilettante interest, but the exercise of native art retrograded rather than advanced.  It became more and more customary for those sojourning in Grecian lands personally to inspect the works of art; for which in particular the winter-quarters of Sulla’s army in Asia Minor in 670-671 formed an epoch.  Connoisseur-ship developed itself also in Italy.  They had commenced with articles in silver and bronze; about the commencement of this epoch they began to esteem not merely Greek statues, but also Greek pictures.  The first picture publicly exhibited in Rome was the Bacchus of Aristides, which Lucius Mummius withdrew from the sale of the Corinthian spoil, because king Attalus offered as much as 6000 -denarii- (260 pounds) for it.  The buildings became more splendid; 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