Metallographic investigation of a cross section has shown that the dark-green patina on this bust formed naturally during burial and is of the type referred to as “noble patina” (Gettens, Rutherford J. 1970. “Patina: Noble and Vile.” In Art and Technology: A Symposium on Classical Bronzes, edited by Suzannah Doeringer, David Gordon Mitten, and Arthur Steinberg, 57–68. Cambridge, MA: MIT Press.; Robbiola, Luc, and L. P. Hurtel. 1997. “Standard Nature of the Passive Layers of Buried Archaeological Bronze: The Example of Two Roman Half-Length Portraits.” In METAL 95: International Conference on Metals Conservation, edited by Ian D. MacLeod, Stéphane L. Pennec, and Luc Robbiola, 109–17. London: Ames & James Science.). Heated glass-paste inlay is used to create solid and translucent colors within depressions or elevated chambers. Here, elementary chemical analysis indicates the eyes were produced using luxury glassmaking techniques, including colored glass (Descamps-Lequime, Sophie, Isabelle Biron, and Juliette Langlois. 2017. “Les yeux d’Auguste et de Livie au musée du Louvre: Une nouvelle technique antique identifiée.” Techné 45:84–99. https://doi.org/10.4000/techne.1304.). Livia, Neuilly-le-Réal (Allier, France), 1st century CE, H. 21 cm; head H. 10 cm (Musée du Louvre, inv. Br 28).