When wood gave way to marble and bronze, sculptors still continued the use of encrustation; especially a paste of glass was used to form the eyes of the figures. Often we find a gilded or silver necklace added. Bronzers tinted their statues, and in this way bronze had the aspect of colour. Silver was largely used. A very interesting example is furnished by Silamin of Athens, who, wishing to represent Jocasta in her last hour, silvered the face so skilfully as to give it the pallor of death. Of even greater interest is a small bas-relief in the St. Angelo Collection in the Museum of Naples. It represents a maiden dressed in a double robe, the under one pale green, the outer one rose-coloured. She wears besides an upper garment of a darker colour and a white fichu bordered with red. We find this custom of multi-colouring in the work of the greatest masters. We know that Phidias made use of gems and gold to heighten the beauty of his statues. Strabo wrote of his incomparable work in the Temple of Zeus at Olympia: “What adds greatly to its success is that his cousin the painter Panæus lent his talent in covering certain parts of the statue with brilliant colours, notably the draperies.” How significant is this statement to those who condemn the colouring of statuary! It is purely arbitrary to maintain that relief and colour may not be united in art. Rather we may agree with M. Homobles when he declares that “the Greeks harmonised colour and form so perfectly that for them in the sixth century painting was a flattened bas-relief, and bas-relief a painting with the paste laid on very thick.” It is the opinion of M. Marcel Dieulafoy, founded, as he tells us, on researches pursued during more than half a century, that “no matter what the material--wood, stone, bronze, marble, terra-cotta--nor the epoch of production, the Hellenes accentuated with coatings and sometimes with coloured enamels the figures in bas-reliefs and alto-reliefs, unless in the case of juxtaposition with other materials of different colour.” Thus we are brought to the conclusion that those who condemn as barbarous the use of colour in statuary must condemn also the statuary of Greece.