was for the most part tolerant of the ways of conquered peoples. Roman art was commissioned, displayed, and owned in far greater quantities, and adapted to more uses than in Greek times. Wealthy Romans were more materialistic; they decorated their walls with art, their home with decorative objects, and themselves with fine jewelry. In the Christian era of the late Empire, from 350 to 500 CE, wall painting, mosaic ceiling and floor work, and funerary sculpture thrived, while full-sized sculpture in the round and panel painting died out, most likely for religious reasons. When Constantine moved the capital of the empire to Byzantium (renamed Constantinople), Roman art incorporated Eastern influences to produce the Byzantine style of the late empire. When Rome was sacked in the 5th century, artisans moved to and found work in the Eastern capital. The Church of Hagia Sophia in Constantinople employed nearly 10,000 workmen and artisans, in a final burst of Roman art under Emperor Justinian (527–565 CE), who also ordered the creation of the famous mosaics of Basilica of San Vitale in the city of Ravenna. Painting Of the vast body of Roman painting we now have only a very few pockets of survivals, with many documented types not surviving at all, or doing so only from the very end of the period. The best known and most important pocket is the wall paintings from Pompeii, Herculaneum and other sites nearby, which show how residents of a wealthy seaside resort decorated their walls in the century or so before the fatal eruption of Mount Vesuvius in 79 AD. A succession of dated styles have been defined and analysed by modern art historians beginning with August Mau, showing increasing elaboration and sophistication. Starting in the 3rd century AD and finishing by about 400 we have a large body of paintings from the Catacombs of Rome, by no means all Christian, showing the later continuation of the domestic decorative tradition in a version adapted - probably not greatly adapted - for use in burial chambers, in what was probably a rather humbler social milieu than the largest houses in Pompeii. Much of Nero's palace in Rome, the Domus Aurea, survived as grottos and gives us examples which we can be sure represent the very finest quality of wall-painting in its style, and which may well have represented significant innovation in style. There are a number of other