him on the Mount: As, the Table of ShewBread-with its rings, and its staves; the Cup of Libations; the Silver Trumpets, with which the Sons of Aaron were to gather together the Congregation—to sound an alarm—or to sanctify a Fast; and, the Golden Candlestick-of seven brancheswith its bowls, its knops, and its flowers -three branches coming out of the one side, and three out of the other.

Upon the Frieze of the Southern Frontispiece, a recumbent Jordan is conveyed in Triumph, by the People of the Prince that should come (so said the Prophet Daniel, in the days of Darius the Mede) to destroy the City, and the Sanctuary.

It is said that the Jews of Rome have always avoided passing under the Arch

of

of Titus, as a Monument of their National subjugation, and departed Polity..

However this may be, the Beggars frequent it, without scruple, and deafen the Curious Observer, while he is studying remote allusions, or poring over the adulatory Inscription:

SENATUS POPULUSQUE ROMANUS, DIVO TITO,* &c.

with vociferous exclamations of "Dio vo' accompagn' a la Madonna!" or "Date me quelqu' ose, por le Animé Santé del Purgatorio! †

This venerable Arch is at the entrance of a long passage, enclosed between high

* The Senate and People of Rome, to the god Titus.

walls

† God accompany you to the Madonna! Give me something, for the sake of the holy Souls in Purgatory!

walls, which being a noted resort of Foreigners is generally lined with whole Families of the begging Tribe-Among them I once overheard a Mother teaching her Child the Trade.

At the end of the Passage is a Second Field or Common, in which are situated the Amphitheatre of Vespasian, and the Arch of Constantine the Great. At a little distance are also massy Fragments of the Baths of Titus, in which was found the Wonderful Groupe of the Laocoon; and the Painting of the Roman Marriage, which is supposed to be the finest specimen of that art among the Ancients which has been recovered from the ruins of Ages.

WE are now in the Forum of the Flavian Amphitheatre-the most imposing Edifice, excepting the Pyramid of Cheops, that has descended from Antiquity, to confound the calculations of Modern Art. The Roman Amphitheatre however, in the shape of an oval, encloses an area of no less extent than that of the Egyptian Pyramid.

One Side of the majestic circumfe rence still rises to the height of a hundred feet, by three Rows of open Arcades, and one unperforated Story, ornamented with intermediate columns and pilasters, of all the Grecian Orders, surmounted with the Roman Composite. .

The other Half of this immeasurable Structure has been long partially dilapidated

dated-not by the incursions of Goths and Vandals-nor the explosion of an earthquake: but by domestic and ignoble enemies-the Farneses Farneses and the Barberini, who found in its solid masses a quarry of marble, or a pit of lime stone, for the tasteless Piles they reared in the Sixteenth and Seventeenth Centuries, under the fostering indulgence of Paul the Third and Urban the Eighth.

QUOD NON FECERUNT BARBARI FECERUNT BARBERINI,*

said the indignant Populace, at the shameful abuse of this unparalleled Monument of the glory of their Ancestors.

The

• What the Barbarians left has been destroyed by the Barberini.