Now the implications of color are easy to imagine. A good example is the sculpture of the Emperor Caligula at the Virginia Museum of Fine Arts. This sculpture, white as it is, shows the emperor, he looks sort of like a white ghost, he looks as we would expect him to look. But a team of which I was part a number of years ago led by Bernard and Peter discovered small amounts of color, of a kind of royal purple on the costume of the emperor. Once the sculpture is recolorized as it may have looked in antiquity, we have a very different artifact. We have an artifact that isn't just a white ghost. But an artifact that looks almost like it's living. That color gives the emperor's image a power, an authority, almost the ability to scare at times, because he's so human looking but not quite. It's an astonishing transformation. One of the first artifacts to be colorized by the team working mainly out of Munich, is the Alexander sarcophagus now at the National museum in Istanbul, where a great deal of pigment was preserved. This reconstructed color gives you a sense of the artifact that's almost alive. It looks almost, frankly, like a cartoon. It looks almost like Indian art in all of its brightness, it looks like a pinata in all of its brightness. But it doesn't look like a staid, white shadow. It looks like a powerful, colorful artifact. Now this interesting color, comes out of a particular generation, those of us who grew up with the transformation from black and white television to color, from black and white film to color. From Dorothy in Kansas in sepia brown to Dorothy in Oz in technicolor, the idea of the ancient world in color is startling to us. When I first saw a film of World War Two in color, it seemed so much more scary, and so much more related to us. They're looking at black and white film. I remember the day my parents brough home a color television, and all of a sudden, Batman was in color and so was Walter Cronkite, a different experience. Similarly, with ancient art, once the art is colorized, we don't have a black and white, or white and grey, Roman world. We have the carousel of colors walking down the street. You felt the living presence of this sculpture, sometimes painted well, sometimes not painted wel. In fact sculpture painters were often a distinct class, as important as well painters. And so our reconstructions of the paintings are never as good, or often not as good as in antiquity. But when we view this material in color, we are looking at it as it was seen 2,000 years ago, or 1500 years ago. Or 3,000 years ago. But not as we've seen it in our museums such as this one, except in special exhibitions.