Observe even already how both types and art begin to show less perfect finish. The men are more vulgar: the artists less able. The =Salle des Antonins=, next, contains a fine series of busts and statues of this second prosperous epoch of the empire. Facing the river, a very noble seated portrait-statue of Trajan, contrasting well with the other more decadent emperors at the further end. We have here still the old Roman severity, and the close-shaven type, admirably opposed to the more sensuous degenerate faces further on, which herald the decadence. These are the builders-up, the others the destroyers, of a great empire. In the corner close by, two erect Trajans. Notice how clear an idea of the personalities of the emperors comparison of these statues and busts affords one. Close to the archway, a beautiful Faustina Junior, one of the loveliest portrait-busts of the second Roman period. Further on, bearded and weaker emperors of the Antonine age; among them, a capital Lucius Verus, holding the orb of empire. Near it, a fine statue of the philosophic emperor, Marcus Aurelius, seen here rather as the soldier than as the sage. In the centre—the same emperor nude—or rather, a nude figure, on which his head has been placed by a modern restorer. By the middle window, colossal busts of Lucius Verus and Marcus Aurelius, and a very big head of Lucilla, wife of the former. These all deserve study, by comparison with the simpler and nobler types of the Julian period. The =Salle de Sevère=—age of the early decadence—contains in the centre a fine statue of the Emperor’s mother, Julia Mammæa, figured after the common fashion as Ceres—a half deification. Near it, another (less pleasing) bust of Antinous. Excellent statue of Pertinax. Round the walls, portrait-busts of the Antonine family and their successors, in sufficient numbers to enable one to form clear conceptions of their personality. This is especially the case with Caracalla and Plautilla by the last window; Septimius Severus himself—a weak face, gaining somewhat with age; and Lucius Verus, selfishly vicious, with a distinct tinge of conscious cruelty. Near the last, a fine portrait-statue of Faustina Senior. Beside it, pleasing bust of the boy Commodus; his subsequent development may be traced round the rest of the window. All these busts, again, should be viewed by the light of their dates; they are identified by means of coins, where the same faces occur with their names—most interesting for comparison. The =Salle de la Paix= contains mixed works, some of them of the extreme decadence. Among them, a good figure of Minerva in red porphyry, the flesh portions of which have been restored in gilt bronze as Rome. By the window, the Emperor Titus as Mars. A half-length of Gordianus Pius near the archway is an unusually fine and classical example for its age. Fine figure of Tranquillina, his wife, and nude of Pupianus, less successful. In many of these works the decadence triumphs.