bronze, hewing marble into shape, and painting forms on a wall.
He professed admiration for the manners of the ancient times, and vaunted at every opportunity the ancestral virtues.
"Men of the stamp of Curius and Fabricius cultivated their lettuce-beds, and slept under thatched roofs," he said. "They wot of no other statue than the Priapus carved in the heart of a box-tree, who, protruding his vigorous pale in the centre of their garden, threatened pilferers with a terrible and shameful punishment."
Mela, who was well versed in the annals of Rome, opposed to this opinion the example of an old patrician.
"In the days of the Republic," he pointed out, "that illustrious man, Caius Fabius, of a family issued from Hercules and Evander, limned with his own hand on the walls of the Temple of Salus paintings so highly prized that their recent loss, on the destruction of the temple by fire, has been considered a public misfortune. It is moreover related that he did not doff his toga when painting, thus to indicate that such work was not unworthy of a Roman citizen. He was given the surname of Pictor, which his descendants were proud to bear."
Lucius Cassius replied with vivacity:
"When painting victories in a temple, Caius
