Now how much of the treatment thus expressed applies to sculpture? Putting the case most strongly, it might be said,—the whole, and that nothing less than the whole, will accord with the _circumlitio_ of statues mentioned elsewhere, and by applying the whole we might connect these notices with those of Plutarch and Pausanias of the employment of vermilion in colouring statues, though these latter go for very little as applicable to the best works of the best time. The construction of the words of both authors imply in strictness that the wax and linen rubbings of statues were applied to the wax previously laid on and heated. The treatment of statues is referred by Vitruvius specially to the nude; it seems, therefore, to have had connection with a design to assist or heighten the effect of the sculptured nude flesh, as distinguished from drapery, &c. This would be natural enough, though no colours were employed, or not for every part, but if they were we must suppose that Vitruvius has vermilion in his mind leading him to limit his observation. Pliny’s expression shows that even assuming colour there is no opaqueness in question. If a verdict were to be given on this evidence as it stands, I am much disposed to think that it must be in favour of a tinge of vermilion, protected by a brilliant varnish, having been applied to the nude portions of (? some) marble statues in such a manner that both colour and varnish assisted the fine surface and brilliant effect of the lucent marble. So much for this part of the evidence and its bearing on a final decision.”—W. W. LLOYD. MATERIAL EVIDENCE. In 1836 a committee was appointed by the Royal Institute of British Architects, to examine the Elgin Marbles in the British Museum, in order to ascertain whether any evidences remained as to the employment of colour in the decoration of the architecture or sculpture.[5] Footnote 5: Extracted from the report of the committee, published in the Transactions of the Royal Institute of British Artists, Vol. I. Part II. 1842. This committee consisted of Mr. Hamilton, Sir Richard Westmacott, Sir Charles L. Eastlake, R.A., Mr. Cockerell, R.A., Dr. Faraday, and Messrs. Angell, Donaldson, and Scoles. The committee found on several architectural fragments from the Erectheum and the Propylaea of Athens, traces of ornaments which had been engraved with a tool on the surface of the marble, and also verified a difference of texture in the parts occupied by the coloured surface from the ground, but were unable to decide “whether the parts now smooth and rough were originally in that state, or whether the part now rough has become so in consequence of the action of the atmosphere upon it, the smooth part having been protected from that action by gilding or colour.”