“Propter quæ fas est genua _incerare_ Deorum.” Upon which we find in a note—“Consueverant Deorum simulacra cera _illinire_ (the old word of dispute) ibidemque affert illud Prudentii, lib. i., contra Symonachum,— ——‘Saxa illita ceris Viderat, unguentoque Lares humescere nigros.’” And in Sat. XII., “Simulacra intentia cerâ.” We have already treated of this custom of waxing the statues, and given the recipe of Pliny, to which we revert for a moment, because the advocates for the colouring theory insist that _illitia_, _linita_, _illinere_, _linire_, all of one origin, are words applicable to painting. Pliny says,—we quote from Smith’s _Dictionary of Greek and Roman Antiquities_,—after showing how the wax should be melted and laid on, “It was then rubbed with a clean linen cloth, _in the way that naked marble statues were done_.” The Latin is—“_Sicut et marmora nitescunt._” The writer in the Dictionary speaks as to the various application of the encaustic process, to paint and to polish: “Wax thus purified was mixed with all species of colours, and prepared for painting; but it was applied also to many other uses, as polishing statues, walls, &c.” Lucian, who died ninety years of age, 180th of the Christian era, although he relinquished the employment of a statuary, and followed that of literature, had certainly an excellent taste in art. His descriptions of statues and pictures prove his fondness and his knowledge. What he says of the famous Cnidian Venus of Praxiteles is very remarkable. After admiring the whiteness of the marble and its polish, he praises the ingenuity of the artificer, in so contriving the statue as to bring least in sight a blemish in the marble, (a very common thing, he adds). It would not have required this ingenuity in the design, if Praxiteles had intended his statue to be painted, for the paint would have covered the stain in the marble wherever placed. We may learn something more from Lucian. In his “Images,” wishing to describe a perfect woman, he will first represent her by the finest statues in the world, selecting the beauties of each. It is in a dialogue with Lycinus and Polystratus. “Is there anything wanting?” asks Polystratus, after mention of these perfect statues. Lycinus replies that the colouring is wanting. He therefore brings to his description the most beautiful works of the best painters. Enough is not done yet; there is the mind to be added. He therefore calls in the poets. Here, then, we have statuary, painter, and poet, each by their separate art to portray this perfect woman. He does not describe by painted statues, but by pictures. Had painting statues been universal, as pretended, Lucian must have seen examples, and his reference to pictures would have been unnecessary. If it be argued that the paint had worn off, that argument will tell against the Polychromatists, for it at least will show that, in an age when statues