The art of Ancient Rome, and the territories of its Republic and later Empire, includes architecture, painting, sculpture and mosaic work. Luxury objects in metal-work, gem engraving, ivory carvings, and glass are sometimes considered to be minor forms of Roman art, although they were not considered as such at the time. Sculpture was perhaps considered as the highest form of art by Romans, but figure painting was also highly regarded. A very large body of sculpture has survived from about the 1st century BC onward, though very little from before, but very little painting remains, and probably nothing that a contemporary would have considered to be of the highest quality. Ancient Roman pottery was not a luxury product, but a vast production of "fine wares" in terra sigillata were decorated with reliefs that reflected the latest taste, and provided a large group in society with stylish objects at what was evidently an affordable price. Roman coins were an important means of propaganda, and have survived in enormous numbers. Introduction While the traditional view of the ancient Roman artists is that they often borrowed from, and copied Greek precedents (much of the Greek sculptures known today are in the form of Roman marble copies), more of recent analysis has indicated that Roman art is a highly creative pastiche relying heavily on Greek models but also encompassing Etruscan, native Italic, and even Egyptian visual culture. Stylistic eclecticism and practical application are the hallmarks of much Roman art. Pliny, Ancient Rome's most important historian concerning the arts, recorded that nearly all the forms of art – sculpture, landscape, portrait painting, even genre painting – were advanced in Greek times, and in some cases, more advanced than in Rome. Though very little remains of Greek wall art and portraiture, certainly Greek sculpture and vase painting bears this out. These forms were not likely surpassed by Roman artists in fineness of design or execution. As another example of the lost "Golden Age", he singled out Peiraikos, "whose artistry is surpassed by only a very few ... He painted barbershops and shoemakers’ stalls, donkeys, vegetables, and such, and for that reason came to be called the 'painter of vulgar subjects'; yet these works are altogether delightful, and they were sold at higher prices than the greatest paintings of many other artists.” The adjective "vulgar" is used here in its original definition, which means "common". The Greek