which Rome is provided abundantly. The classic Romans first gave the inhabitants this supply of pure water; and though it is now more limited, it is still a noble one for all purposes. Many of the large palaces have a small fountain at an exterior corner, always running, for public use; and there is one at the Simonetti Palace very indicative of the sixteenth century; it represents the half-length figure of a man in a gown and cap, holding a barrel in both hands, and pouring the water through the spigot-hole. With grander designs for fountains Rome abounds-from the vast heap of sculpture at the back of the Conti Palace, known as the Fontana. di Trevi, to the simple and graceful Triton who blows the water through his shell in the Piazza Barberini. The first is in very questionable taste a huge assemblage of rocks, sea-gods, horses, and shells; but the latter is an elegant design by Bernini.

Rome possesses specimens of the art of Bernini in all its phases, and exhibits his gradual detorioration in style as he grew older and more mannered. Thus, the group of Apollo and Daphne in the Villa Borghese, executed when the sculptor was only eighteen years of age, is a really fine work: so also is the Eneas and the David; it is, indeed, in this one room, "the Camera di Bernini," we see how great the sculptor was when young. If we would see what he was in the zenith of his fame, when he unfortunately exercised a fatal influence on the arts, we must go to St. Peter's; and there, in the place of honour, see his gigantic absurdity, the group of fathers of the Church supporting the bronze case for the chair of St. Peter. Here you have his vulgar figures, his conceited attitudes, his meaningless draperies, in perfection, and sigh

to think of the mischief his want of taste did in his own day, and long after it, by means of the false school he founded.

Canova has honours in Rome second only to the ancients. To him one of the four pavilions in the "Cortile di Belvidere" of the Vatican has been assigned. It contains the Perseus, and the boxers Creugas and Damoxenus. A work more characteristic of the peculiar style of this artist, is the reclining Venus of the Borghese collection, modelled by him from the sister of Napoleon; its delicacy is almost carried to excess-it is the "stippling" of sculpture, and, like his "Graces," reminds us of the opera ballet rather than of Nature. How great and pure he could be, let his monument to Pope Clement XIII. in St. Peter's testify! Nothing can be finer in conception, or purer in execution, than one figure here the Genius of Death. It is a graceful figure seated with torch reversed, the face tinged with melancholy; but it is the melancholy of reflection, rather than of sorrow; the pondering over mankind's inevitable doom; a melancholy seductive, rather than repulsive; no hideous, hopeless sorrow here, like the weeping children and broken-down mourners over urns on ordinary tombs. Death is here not frightful, but hopeful. He is the angel of God employed in his immutable decrees, the harbinger of a better world, whose placid, holy face bespeaks the quiet and happiness that he brings to all who walk faithfully on earth. This one figure is worth a journey to Rome, and few minds have produced so high and holy an embodiment of pure thought and right feeling. The studios of modern Roman sculptors-including as they do many who are only Romans by residence-are among the most