The assassination left Antony sole consul. Having control of Cæsar’s papers and property, he skilfully used these advantages to make himself absolute. In a clever oration at the funeral he turned the feelings of the populace against the murderers, who thereupon fled from Rome. With young Octavianus (Octavius) he patched up a temporary alliance, and in combination they defeated the armies of Brutus and Cassius in the two battles of Philippi, 42 B. C. The beaten generals committed suicide, and the victors divided the empire between them, Antony taking the East and Octavianus the West. The later history of Antony is told in connection with Cleopatra. PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 6. No. 2, SERIAL No. 150 COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC. [Illustration: RUINS OF THE TEMPLE OF THE DEIFIED JULIUS CÆSAR--ROMAN FORUM] _JULIUS CÆSAR_ _The Portrait Sculpture and the Reproduction of Buildings in this Number of The Mentor_ SIX In the Rome of Cæsar Hellenic influence was active, not only in literature and philosophy, but also in art. The Roman portrait sculpture of this period reveals Greek knowledge and skill; but its essential character was determined by native tradition. The earliest Roman portraits were waxen death masks formed from a moulding over the face. Hence they were mechanically accurate but utterly devoid of animation. Though this material has perished, the visitor to the museums of Rome will find in relief many a family group in which the faces retain the mask-like quality. Only in a slighter degree does the principle apply to portrait sculpture in the round. At its best the Republican face accordingly is intensely realistic yet with no intimation of the inner spirit. Commonly the hair is indicated by parallel scratches made by firm chisel strokes. By these characteristics many busts and statues may be easily dated. It should be noticed, too, that in the Republican age the portrait heads, as distinguished from statues, include in addition to the head scarcely more than the neck, and that the bust is a gradual development during the subsequent period. With this criterion we are able to assign the Brutus of this number of The Mentor to the administration of Claudius, 41-54 A. D. In the colossal portrait of Cæsar of the National Museum at Naples the bust is a modern restoration, and we may only cherish the reasonable faith that the head is genuine, though somewhat later than his lifetime. The famous Cæsar of the British Museum, comprising head and neck, would satisfy the criterion here formulated, but fails to pass another even more important test. The indication of the pupil in the eye was not devised till after Hadrian, 117-138 A. D., and accordingly this head could be no earlier. Recently it has been suggested, with some reason, that the work is a modern study. If so, it is a great success, as it most admirably expresses the physique and the