deal with clearer questions, namely, the rise of the arts to perfection, their decline and their restoration or rather renaissance, and here we stand on much firmer ground. The practice of the arts began late in Rome, if the first figures were, as reported, the image of Ceres made of the money of Spurius Caasius, who was condemned to death without remorse by his own father, because he was plotting to make himself king. But although the arts of painting and sculpture continued to flourish until the death of the last of the twelve Cæsars, yet they did not maintain that perfection and excellence which had characterised them before, as is seen as seen in the buildings of the time. The arts declined steadily from day to day, until at length by a gradual process they entirety lost all perfection of design. Clear testimony to this is afforded by the works in sculpture and architecture produced in Rome in the time of Constantine, notably in the triumphal arch made for him by the Roman people at the Colosseum, where we see, that for lack of good masters not only did they make use of marble works carved in the time of Trajan, but also of spoils brought to Rome from various places. These bas-reliefs, statues, the columns, the cornices and other ornaments which belong to another epoch only serve to expose the defects in those parts of the work which are entirely due to the sculptors of the day and which are most rude. Very rude also are some scenes of small figures in marble under the circles and the pediment, representing victories, while between the side arches there are some rivers also very crude and so poor that they leave one firmly under the impression that the art of sculpture had been in a state of decadence for a long while. Yet the Goths and the other barbarous and foreign nations who combined to destroy all the superior arts in Italy had not then appeared. It is true that architecture suffered less than the other arts of design. The bath erected by Constantine at the entrance of the principal portico of the Lateran contains, in addition to its porphyry columns, capitals carved in marble and beautifully carved double bases taken from elsewhere, the whole composition of the building being very well ordered. On the other hand, the stucco, the mosaic and some incrustations of the walls made by the masters of the time are not equal to those which had been taken away for the most part from the temples of the gods of the heathen, and which Constantine caused to be placed in the same building. Constantine observed the same methods, according to report, with the garden of Æquitius in building the temple which he afterwards endowed and gave to Christian priests. In like manner the magnificent church of S. John Lateran, built by the same emperor, may serve as evidence of the same fact, namely, that sculpture had already greatly declined in his time, because the figures of the Saviour and of the twelve apostles in silver, which he caused to be made, were very base works, executed without art and with very little design. In addition to this, it is only necessary to examine the medals of this emperor, and other statues made by the sculptors of his day, which are now at the Capitol, to clearly perceive how far removed they are from the perfection of the medals and statues of the other emperors, all of which things prove that sculpture had greatly declined long before the coming of the Goths to Italy. Architecture, as I have said, maintained its excellence at a higher though not at the highest level. Nor is this a matter for surprise, since large buildings were almost entirely constructed of spoils, so that it was easy for the architects to imitate the old in making the new, since they had the former continually before their eyes. This was an easier task for them than far the sculptors, as the art of imitating the good figures of the ancients had declined. A good illustration of the truth of this statement is afforded by the church of the chief of the apostles in the Vatican, which is rich in columns, bases, capitals, architraves, cornices, doors and other incrustations and ornaments which were all taken from various places and buildings, erected before that time in very magnificent style. The same remarks apply to S. Croce at Jerusalem, which Constantine erected at the entreaty of his mother, Helena; of S. Lorenzo outside the wall, and of S. Agnesa, built by the same emperor at the request of his daughter Constance. Who also is not aware that the font which served for the baptism of the latter and of one of her sisters, was ornamented with fragments of great antiquity? as were the porphyry pillar carved with beautiful figures and some marble candelabra exquisitely carved with leaves, and some children in bas-relief of extraordinary beauty? In short, by these and many other signs, it is clear that sculpture was in decadence in the time of Constantine, and with it the other superior arts. If anything was required to complete their ruin it was supplied by the departure of Constantine from Rome when he transferred the seat of government to Byzantium, as he took with him to Greece not only all the best sculptors and other artists of the age, such as they were, but also a quantity of statues and other beautiful works of sculpture.

After the departure of Constantine, the Caesars whom he left in Italy, were continually building in Rome and elsewhere, endeavouring to make these works as good as possible, but as we see, sculpture, painting and architecture were steadily going from bad to worse. This arose perhaps from the fact that when human affairs begin to decline, they grow steadily worse until the time comes when they can no longer deteriorate any further. In the time of Pope Liberius the architects of the day took considerable pains to produce a masterpiece when they built S. Maria Maggiore, but they were not very happy in the result, because although the building, which is also mostly constructed of spoils, is of very fair proportions, it cannot be denied that, not to speak of other defects, the decoration of the church with stucco and painting above the columns is of very poor design, and that many other things to be seen there leave no doubt as to the degradation of the arts. Many years later, when the Christians were suffering persecution under Julian the Apostate, a church was erected on the Celian Hill to SS. John and Paul, the martyrs, in so inferior a style to the others mentioned above that it is quite clear that at that time, art had all but entirely disappeared. The edifices erected in Tuscany at the same time bear out this view to the fullest extent. The church outside the walls of Arezzo, built to St Donato, bishop of that city, who suffered martyrdom with Hilarion the monk, under the same Julian the Apostate, is in no way superior to the others, and this is only one of many. It cannot be contended that such a state of affairs was due to anything but the lack of good architects, since the church in question, which is still standing, has eight sides, and was built of the spoils of the theatre, colosseum and other buildings erected in Arezzo before it was converted to the Christian faith. No expense has been spared, its columns being of granite and porphyry and variegated marble which, had formerly adorned the ancient buildings. For my own part, I have no doubt, seeing the expense incurred, that if the Aretines had been able to employ better architects they would have produced something marvellous, since what they actually accomplished proves that they spared themselves nothing in order to make this building as magnificent and complete as possible. But as architecture had lost less of its excellence than the other arts, as I have often said before, some good things may be seen there. At the same period the church of S. Maria in Grado was enlarged in honour of St Hilarion, who had lived in the city a long time before he accompanied Donato to receive the palm of martyrdom. But as Fortune, when she has brought men to the top of the wheel, either for amusement or because she repents, usually turns them to the bottom, it