[Footnote 198: It may not be inopportune to summarise here, Bienkowski's criterion for dating Roman busts, which is as follows: Augustan and Julio-Claudian epoch, head only rendered; Flavian, shoulders rendered but juncture of arms not indicated; the sculptors of Trajan's time included the juncture of the arms, and of Hadrian's and the Antonines, part of the upper arm. Later, the bust developed to a half-length figure. It is necessary of course to exclude decapitated busts subsequently restored or fitted with heads of another epoch.] We return to Room XVIII. where we find, 1205, the colossal bust of Antinous, the beautiful young favourite of Hadrian, who in a fit of melancholy flung himself into the Nile and (deified) became the most popular of the gods in the Pantheon of the later Empire: the eyes were originally formed of jewels. This is the bust referred to by J.A. Symonds, in his _Sketches and Studies in S. Europe_, as by far the finest of the simple busts of the imperial favourite. In Room XV. is a statue, 1121, of the Emperor Julian, found at Paris, some curious Mithraic reliefs, and, in Room XIV. are interesting Roman altars and sacrificial reliefs. We again enter the Rotonde, turn L. and proceed across the Vestibule Daru to the Escalier Daru, ascending which, we are confronted by the majestic Victory of Samothrace, one of the noblest examples of Greek art, wrought immediately before it had spent its creative force and began to direct a subtle and technical mastery to serve private luxury and pomp. We descend and return to the Quadrangle. (_b_) MEDIAEVAL AND RENAISSANCE SCULPTURE. We cross the quadrangle to the S.E. and enter[199] the Musee des Sculptures du Moyen Age et de la Renaissance, where the sense of beauty inherent in the Gallic race is seen expressed in a medium which has always appealed to its peculiar objective and lucid temperament. We proceed to Room I., which contains some typical early Madonnas and other figures in wood and stone; a fifteenth-century statuette in marble (No. 211), in the embrasure of the second window, is worthy of special attention. The fine sepulchral monument of Phil. Bot, Seneschal of Burgundy, an effigy on a grave-stone borne by eight mourners, illustrates a favourite design of the Burgundian sculptors. The recumbent figure, 224, of Philippe VI. of France (1350), attributed to Andrieu Beaunepveu, the art-loving Charles V's. _cher ymagier_, is one of the earliest attempts at portraiture. Centre of hall, 887 and 888, recumbent statues of Charles IV. and Jeanne d'Evreux, fourteenth-century, by Jean de Liege. The tomb of Philippe de Morvillier, 420, in the recess of a window, is an example of early fifteenth-century acrolithic monumental sculpture; the head and hands of the figure being of marble according to a common custom dating from Greek times. On either side of the entrance are fine busts of Charles VIII. and Marie of Anjou.