distant--to help it to a physiognomy. It seems one of the oddest things that this obscure French borough--obscure, I mean, in our modern era, for the Gallo-Roman Arausio must have been, judging it by its arches and theatre, a place of some importance--should have given its name to the heirs-apparent of the throne of Holland and been borne by a king of England who had sovereign rights over it. During the Middle Ages it formed part of an independent principality; but in 1531 it fell, by the marriage of one of its princesses, who had inherited it, into the family of Nassau. I read in my indispensable Murray that it was made over to France by the treaty of Utrecht. The arch of triumph, which stands a little way out of the town, is rather a pretty than an imposing vestige of the Romans. If it had greater purity of style one might say of it that it belonged to the same family of monuments as the Maison Carrée at Nîmes. It has three passages--the middle much higher than the others--and a very elevated attic. The vaults of the passages are richly sculptured, and the whole structure is covered with friezes and military trophies. This sculpture is rather mixed; much of it is broken and defaced, and the rest seemed to me ugly, though its workmanship is praised. The arch is at once well preserved and much injured. Its general mass is there, and as Roman monuments go it is remarkably perfect; but it has suffered, in patches, from the extremity of restoration. It is not, on the whole, of absorbing interest. It has a charm, nevertheless, which comes partly from its soft, bright yellow colour, partly from a certain elegance of shape, of expression; and on that well-washed Sunday morning, with its brilliant tone, surrounded by its circle of thin poplars, with the green country lying beyond it and a low blue horizon showing through its empty portals, it made, very sufficiently, a picture that hangs itself to one of the lateral hooks of the memory. I can take down the modest composition and place it before me as I write. I see the shallow, shining puddles in the hard, fair French road; the pale blue sky, diluted by days of rain; the disgarnished autumnal fields; the mild sparkle of the low horizon; the solitary figure in sabots, with a bundle under its arm, advancing along the _chaussée_; and in the middle I see the little ochre-coloured trio of apertures, which, in spite of its antiquity, looks bright and gay, as everything must look in France of a fresh Sunday morning.