Walk straight through the following rooms, without stopping, till you arrive at the =Salle d’Auguste= on the right, at the end, so as to take the works in historical sequence. This hall is the first in chronological order of the =Roman period=. It contains portrait-statues and busts of the Julian Emperors and their families, and of the Flavian dynasty. Begin down the centre. =*=Bust of Julius Cæsar, indicating well the intellectual character and relentless will of the man: a speaking likeness. Next to it, the famous =**=Antinous (eyes removed; once jewels), a much idealised colossal portrait-bust of the beautiful young favourite of the Emperor Hadrian, who drowned himself in the Nile in order to become a protecting genius for his patron; he is here represented in a grave and rigid style somewhat faintly reminiscent of Egyptian art, and with the attributes of Bacchus or (more correctly) Osiris; Hadrian deified him and erected a temple in his honour in a town in Egypt which he named after him. Observe the lotus entwined in the hair. Fine portrait-statue of a Roman orator, probably Julius Cæsar, one of the best works of its class of the best period of revived Greek art under the early Roman Empire: signed by Cleomenes. The figure is that conventionally attributed to Hermes or Mercury. Near it, Agrippa, the son-in-law of Augustus and builder of the Panthéon; full of the statesmanlike characteristics of the early empire. Ideal bust of Rome, cold but beautiful; Romulus and Remus on the helmet. Under the tribune, famous =*=portrait-statue of Augustus, a very noble representation. It is flanked by two good portrait-statues of the Emperor himself, and of his successor, Tiberius. In front of it are Roman boys of the imperial family, the one to the L admirable in execution. They wear the golden bulla round their necks, which marked lads of noble family; the faces and figures are thoroughly patrician. Windowless wall, members of the imperial (Julian and Claudian) family,—Agrippina, Tiberius, Drusus and Germanicus, etc.; Caligula, showing incipient traces of Cæsarian madness; Octavia, Antonia, and others. Study these carefully. Then, a most malignant Nero, with less unpleasant ones further: a Messalina, whose gentleness of face belies her reputation; a grandiose Claudius; and a selfish Galba, in whom we begin to see traces of the traits produced by ruthless struggle for empire. Near him, a vain-glorious Otho, still fine and classical. Notice the dainty profiles of the women. All the statues and busts in this room, indeed, are conceived in the fine classical spirit, with no trace of the coming decadence. Most of them have the old close-shaven, clear-cut Roman features, contrasting strongly with the weaker, bearded types we shall see later. By the window wall, statues, not so good, of the coarse bull-necked Vitellius; hard, practical, business-like Vespasian; capable Titus, and one or two less satisfactory busts or statues of Julius Cæsar.