could be layered over the tunic. In the 2nd century, emperors and men of status are often portrayed wearing the pallium, an originally Greek mantle (himation) folded tightly around the body. Women are also portrayed in the pallium. Tertullian considered the pallium an appropriate garment both for Christians, in contrast to the toga, and for educated people, since it was associated with philosophers. By the 4th century, the toga had been more or less replaced by the pallium as a garment that embodied social unity. Roman clothing styles changed over time, though not as rapidly as fashions today. In the Dominate, clothing worn by both soldiers and government bureaucrats became highly decorated, with woven or embroidered stripes (clavi) and circular roundels (orbiculi) applied to tunics and cloaks. These decorative elements consisted of geometrical patterns, stylized plant motifs, and in more elaborate examples, human or animal figures. The use of silk increased, and courtiers of the later Empire wore elaborate silk robes. The militarization of Roman society, and the waning of cultural life based on urban ideals, affected habits of dress: heavy military-style belts were worn by bureaucrats as well as soldiers, and the toga was abandoned. Arts People visiting or living in Rome or the cities throughout the Empire would have seen art in a range of styles and media on a daily basis. Public or official art—including sculpture, monuments such as victory columns or triumphal arches, and the iconography on coins—is often analysed for its historical significance or as an expression of imperial ideology. At Imperial public baths, a person of humble means could view wall paintings, mosaics, statues, and interior decoration often of high quality. In the private sphere, objects made for religious dedications, funerary commemoration, domestic use, and commerce can show varying degrees of esthetic quality and artistic skill. A wealthy person might advertise his appreciation of culture through painting, sculpture, and decorative arts at his home—though some efforts strike modern viewers and some ancient connoisseurs as strenuous rather than tasteful. Greek art had a profound influence on the Roman tradition, and some of the most famous examples of Greek statues are known only from Roman Imperial versions and the occasional description in a Greek or Latin literary source. Despite the high value placed on works of art, even famous artists were of low social status among the Greeks and Romans, who regarded artists, artisans, and craftsmen