Without stopping to describe other figures of him, it is interesting to contrast this one with that splendid full-length marble statue, also in the Vatican, which was not discovered until 1863. It was found buried in the ruins of the villa of his wife, Livia, seven miles from Rome. This also bears every mark of being a portrait from life. How impressive that it has been hidden in the earth for so many centuries, during which many kingdoms have risen and fallen; and now it has been brought forth, almost like a resurrection, and we can stand, as it were, face to face with him! It shows him to us in all his majesty, late in his career, when he had become the grand master of the world. He stands in a calm and commanding attitude, bearing his weight on his right foot, wearing his military breastplate, with drapery carefully arranged around his hips and thrown over his left arm. His left hand carries a scepter, while his right is extended as if he were deliberately addressing his army. The countenance bears the stamp of much experience and of deep seriousness, if not of anxiety. He seems to be oppressed by the weight of empire. On his breastplate or cuirass, which appears to be copied from the metallic original worn by him, are seen Greek designs, which have been compared with cameos for the beauty and delicacy of their detail. The central group of these embossed figures represents a Roman general receiving some military standards from a conquered foe. It is very probably commemorative of the victory won by the Roman army over the Parthians about 17 B. C., when Augustus had deputed his stepson Tiberius to carry on the campaign and afterward to secure in a formal manner from Phraates, the king of the Parthians, those bronze eagles that the Parthians had taken away from the Roman general Crassus and his soldiers more than thirty years before. That defeat had been a bitter recollection to the Romans ever since it occurred, and the restoration of the standards was a matter of corresponding rejoicing. They were sent to Rome, where they were placed by Augustus in the Temple of Mars Ultor. It seems probable that this statue was carved soon after that time, about 17 B. C. On the two sides of the representation, bent over in sorrow, sit two symbolical figures, the probable genii of two conquered nations. Near the neck of the cuirass appears the god Cælus emerging from the clouds, holding a scarf blown by the wind and arching above his head, while before him Apollo riding in his chariot reminds us of the figures of Guido’s famous fresco of Aurora on the ceiling of the Rospigliosi Casino in Rome.[3] No figure could better personify the conscious gravity of universal lordship than does this stately statue of Augustus. When first discovered some portions of it bore traces of coloring. A little cherub riding upon a dolphin is placed against the right foot, supporting the work and, by contrast, setting forth its dignity.