Owing in part to the fact that the Roman cities were far larger than the Greek city-states in power and population, and generally less provincial, art in Ancient Rome took on a wider, and sometimes more utilitarian, purpose. Roman culture assimilated many cultures and 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.
A native Italian style can be seen in the tomb monuments of prosperous middle-class Romans, which very often featured portrait busts, and portraiture is arguably the main strength of Roman sculpture. There are no survivals from the tradition of masks of ancestors that were worn in processions at the funerals of the great families and otherwise displayed in the home, but many of the busts that survive must represent ancestral figures, perhaps from the large family tombs like the Tomb of the Scipios or the later mausolea outside the city. The famous bronze head supposedly of Lucius Junius Brutus is very variously dated, but taken as a very rare survival of Italic style under the Republic, in the preferred medium of bronze.  Similarly stern and forceful heads are seen in the coins of the consuls, and in the Imperial period coins as well as busts sent around the Empire to be placed in the basilicas of provincial cities were the main visual form of imperial propaganda; even Londinium had a near-colossal statue of Nero, though far smaller than the 30-metre-high Colossus of Nero in Rome, now lost.  The Tomb of Eurysaces the Baker, a successful freedman (c. 50-20 BC) has a frieze that is an unusually large example of the “plebeian” style.  Imperial portraiture was initially Hellenized and highly idealized, as in the Blacas Cameo and other portraits of Augustus.
Religious and Funerary Sculpture
An example is the equestrian bronze statue of Emperor Marcus Aurelius (c.175 CE), whose stance is reworked from the Greek statue “Doryphorus” (440 BCE). See: Greek Sculpture Made Simple.
Roman sculpture was heavily influenced by Greek sculpture. In fact, many of the Roman sculptures were just copies of Greek sculptures. The wealthy Romans decorated their large homes with sculptures. A lot of times these sculptures were of themselves or their ancestors. Other popular subjects for sculptures included gods and goddesses, philosophers, famous athletes, and successful generals.
Centered in the city of Rome, the civilization of Ancient Rome ruled much of Europe for over 1000 years. The arts flourished during this time and were often used by the wealthy and powerful to memorialize their deeds and heritage.
Items of silverware and carved gems were especially appreciated and frequently collected by those Romans who could afford them. Kept in the home, they would, no doubt, have been shown to admiring visitors and used as conversation pieces. The Roman love for intricately detailed and tiny carvings on gems counters the traditional view that Roman art was preoccupied with all that was massive and inelegantly bulky. Signet rings, a symbol of family pride and an important method of signature along with seal-stones, were, like gemstones, carved using small drills with a diamond point or lap-wheel which were rotated using a horizontal bow on the shaft. Cornelian and onyx seem to have been the material of choice for more functional items, but sapphires and aquamarine are amongst the more precious gems the Romans imported from such far-flung places as India.
Roman sculpture blended the idealised perfection of earlier Classical Greek sculpture with a greater aspiration for realism and mixed in the styles prevalent in Eastern art. Roman sculptors have also, with their popular copies of earlier Greek masterpieces, preserved for posterity invaluable works which would have otherwise been completely lost to world art.
Considered the first Greeks, the Mycenaeans had a lasting influence on later Greek art, architecture, and literature. A bronze age civilization that extended through modern day southern Greece as well as coastal regions of modern day Turkey, Italy, and Syria, Mycenaea was an elite warrior society dominated by palace states. Divided into three classes – the king’s attendants, the common people, and slaves – each palace state was ruled by a king with military, political, and religious authority. The society valorized heroic warriors and made offerings to a pantheon of gods. In later Greek literature, including Homer’s The Iliad and The Odyssey, the exploits of these warriors and gods engaged in the Trojan War had become legendary and, in fact, appropriated by later Greeks as their founding myths.
Artist: Ictinus and Callicrates