It is a curious fact that many of those men and women whose personal appearance was felt by their own contemporaries to be in the highest degree awe-inspiring were small: Napoleon was small, Louis XIV was small, among Queens Elizabeth was small, and Her late Majesty Victoria unusually small. Augustus was no exception--he was short, slight, and halted perceptibly in his gait; but these personal disadvantages did not detract from his dignity. If we compare the portrait of Julius Cæsar in the British Museum with the bust of the young Augustus, or the head of the magnificent statue of the Emperor found in Livia’s villa near the Prima Porta, we are struck by a remarkable difference. It is possible to bring the face of Cæsar to life again; we can recall the dark and liquid eyes, and set the strongly marked muscles of the face in motion; we would hardly be astonished were the lips to open, and we can anticipate the clear even enunciation of the words to which they would give utterance. But with the portraits of Augustus it is otherwise; they are strangely inscrutable. The bust known as the young Augustus is the portrait of a boy, or at the oldest of a lad of sixteen. It must have been modelled at a time when the future even of Julius Cæsar was not assured. The artist may have flattered, but that particular form of flattery can hardly have been designed; the habit of thoughtfulness is seldom expressed to the same degree in the features of boys and young men. Similarly in the older portrait there is an aloofness; it is the face of a man who would always tempt a careful observer to wish to know more about him, and who would always elude curiosity. The next Emperor who was canonized was Claudius. Of him, too, we have many authentic portraits; even in the most idealized we can see something of the man whose apotheosis gave Seneca the materials for a merry jest. It is the face of a man who was perpetually puzzled, whereas the face of Augustus is the countenance of one who perpetually puzzled other men. The great work of establishing the Roman Empire was not the work of a charlatan or a criminal, in both of which characters Augustus has been represented. It was the work of a man who shared many of the crude beliefs of his own time and unconsciously used them for his own purposes, and those purposes were not self regarding. An Antonius could squander great gifts in the pursuit of what earthly happiness is afforded by dissolute excesses--he could allow his soldiers to perish of hunger and disease while he hastened to the embraces of an accomplished courtesan; he could shamelessly desert loyal veterans at the bidding of a licentious woman, and seek salvation in the wake of her purple sails; such was the hero whom Augustus annihilated, such the conception of responsibility which he replaced by a devotion to duty which has rarely been equalled and never surpassed.