The Vatican statue of Augustus Cæsar was discovered in 1863. Apart from its interest as a transitional work leading to the pure Roman style, it claims attention owing to the light it throws upon the much discussed problem of the colouring of marble statuary. We have previously noted the fact that it is established beyond possibility of doubt that the great mass of Greek and Roman sculpture was freely coloured. Traces of pigment can still be found in numerous works, but the evidence is insufficient to justify any really dogmatic utterances as to actual methods. We have therefore preferred to do little more than allude to the practice. The evidence furnished by the statue of Augustus is so complete, however, that it suggests the desirability of a rather fuller reference. The work was discovered in the Villa of Livia, near Prima Porta. Otto Jahn, in his _Aus der Alterthumswissenschaft_, published in 1868, gives the following particulars as to its condition: “The tunic of Augustus is crimson, the mantle purple, the fringe of the armour yellow; on the nude portions of the body no traces of colour are noticeable, except the indication of the pupils with a yellowish tint; and the hair no longer shows colour. But the relief decorations of the cuirass are painted with especial care, although the flat surfaces are left without colour. The god of heaven, rising from the blue waves or clouds, holds a purplish garment in both hands; the chariot of the sun-god is crimson; before him soars a female with outspread blue wings; the goddess of the earth wears a wreath of wheat in her blonde hair. Apollo in a crimson mantle rides upon a griffon with blue wings; the light haired Diana, in a crimson garment, is borne by a reddish brown stag. In the middle stands a Roman Commander in blue and red armour, crimson tunic, and purple mantle, with a blue helmet. A bearded warrior in crimson tunic and blue trousers holds up a Roman standard with insignia painted blue. The barbarian on the right, with auburn hair, in a purple mantle, holds a war-trumpet; the figure on the left is likewise light haired and clothed in a blue mantle.” [Illustration: ORESTES AND ELECTRA (SCHOOL OF PASITELES) National Museum, Naples] [Illustration: AUGUSTUS Vatican, Rome] We shall not refer to the problem of how generally Greek and Roman sculptures were coloured again. M. Maxime Collignon, in his _La Polychromie dans la Sculpture Grecque_, has collected the evidence bearing upon the point. The “Augustus” shows how elaborate the process must have been in many cases. It will, however, be worth while to refer to two typical pieces of evidence supporting the view that the great bulk of Greek and Roman sculpture was coloured.