Arles has preserved much of this Greek influence up to the present day; for beauty cannot die--it influences succeeding ages and fashions all their work, and the sculptures found in Arles are in this respect superior to those of Nîmes and other Roman provincial towns. The Venus of Arles, which now rests in the Louvre, compared with that of Nîmes, gives a forcible illustration of the different characteristics of Greco-Roman from the more purely Roman art; a subtle difference to explain, but easily recognised when face to face with the actual work. The Venus, that should have been one of the most cherished glories of a city, whose womenfolk have inherited the beauty of their Phocean ancestors, is lost to it. Discovered in 1651 by two citizens in the courtyard of their house, built on the site of the theatre, it was sold to the town authorities for £60, and they, anxious to curry favour with the “Grand Monarch,” presented it to him in 1683. Louis had the statue restored and placed among his treasures in the Palace at Versailles, whence it was removed in the last century to where it now stands in the Louvre. The Amphitheatre at Arles is built upon slightly rising ground, and the practical builders took every advantage of the rocky foundations to save themselves any unnecessary building, so that the lower galleries of the edifice only exist on a part of its circumference. The modern buildings that have sprung up and surrounded it prevent as good a view of the ensemble as is possible at Nîmes. The interior galleries have stone lintels instead of the Roman arch as in those of the latter. The simplicity of the mouldings and carvings of the capitals is more akin to the Greek than to the later Roman style of architectural decoration, and although the building is not nearly so imposing as the Nîmes Arena, or even that vast relic of the Empire at El-Djem in Tunisia, it has many features that are distinct from either. From the Rue Voltaire one looks up the broad flight of steps which lead to the north end of this mass of masonry and sees superimposed stages of arches; the [Illustration: ARENA. NIMES.] lower series divided by simple square Doric pillars, the upper by Corinthian columns, only a few of which still possess their capitals. They are weather-worn and greatly damaged, and it is only by picking out more or less perfect bits, here and there, that evidence of its original beauty can be obtained. Internally, great galleries run round the inside walls, and lead out by flights of steps and passages on to three great ranges of seats. The original seating arrangements have undergone much change, but the traces of the disposition of the Cavea can easily be made out with a little trouble.