"A medical man of large experience, who at my request studied the bust of Messalina in the Florence gallery, informs me that it is that of a woman physically unsound; the flattening of the top of the head indicates an imperfect mental development, and the general aspect of the face, evidently a close study from life without any attempt at hiding blemishes and idealizing, is that of a woman whose span of life would naturally be short. There would probably be malformation of the chest. The face is that of one with feverish blood, whose flame of life burnt too fast. The face is not in itself sensual, nor at all animal, but it is insolent and cruel. The low, flat brow as well as the low, flat head show that she was deficient in all the higher and nobler qualities. In this bust the formation of the throat is peculiar. M. Mayor remarks: 'Thin lips, evil smile, ears hardly visible, jaw advancing and remarkably massive, eyes close together, profoundly sunk under their arcade, nostrils fine and flexible, lips asymmetrical, the upper lip lifted on the right, as in a beast prepared to bite, the same characteristic feature observed in Caligula and commented on by Darwin. Facial asymmetry. The left eye highest and furthest from the nose (the same noticeable in Nero and Claudius, etc.). The look cruel rather than voluptuous. An ironical smile, the by no means uncommon mask worn by pathological corruption and nymphomania,'" M. Menière, in a book entitled _Medical Studies from the Latin Poets_, also gives it as his opinion that Messalina was a victim of nymphomania. He says: "At the Salpêtrière, there are Messalinas, cases which have absolutely nothing to do with morals." This probably may safely be accepted as the true explanation of the case, if one can rid one's mind of two suspicions. The first of these is that this much-talked-of asymmetry may be nothing other than inferior or careless artistic work. The sculptor may not have been able, or he may not have given himself the time, to carve both sides of the face so absolutely alike as to defy the criticism of sharp scientists, bent on discovering a cause for the poetical effect found in Juvenal and others. The mention of the satirist suggests our second suspicion, which is that in his astonishing account of the criminal appetites of Messalina he is straining after effect.