The square body of the building, the four pyramids at the corners, and that in the centre, will remind the traveller of the modest monument, miscalled that of the Horatii and Curiatii, on the road between Laricia and Rome. To me it seems to have some resemblance with that raised by Simon Maccabeus to his family, about three centuries after Porsenna’s time, 1 Macc. xiii., v. 27, 28, 29, 30. [38] See the 22nd chapter of Micali for what can be known of the religion of ancient Italy, its gradual alteration, and the introduction of Egyptian, Oriental, and Greek mysteries by the Cabiri, who, in their mixed character of priest and merchant, appear to have influenced the whole system of worship. [39] I say the _re-opening_, because it appears that at some former time or times, now forgotten, the sepulchres have been searched for the precious metals which, in the form of ornaments of various kinds, were buried with their owners. Some of the tombs remaining open served as refuge for robbers, for sheep-pens, &c. See Tiraboschi as above, also Micali. [40] This demon, with his huge tusks and his large tongue, might be taken for the Hindoo demon that is to destroy all mankind at the end of the world, according to some. Several plates of this destroyer, who is sometimes to be identified with Siva, sometimes with Kali, are to be seen in Moore’s Hindoo Pantheon. The resemblance between the two monsters is very remarkable. [41] From this it appears that the whole ear of corn was stored in these nets, as was the custom in Egypt. [42] Book xxxv., ch. 3. [43] Cleophantus is said to have used no other colour than pounded brick. Demaratus, the father of Tarquinius, had been a fugitive, and settled as a potter at Tarquinii. [44] I quote the pleasant old translation by Philemon Holland. The 1st Book of Tiraboschi, to which I have already referred, may be consulted if any doubts concerning Pliny’s account should arise. [45] Pliny mentions that, in his time, Pontius, a lieutenant of Caligula, wished to have removed the pictures from Ardea, but found that the plaster or stucco upon which they were painted would not bear removal. These pictures could not have been painted merely in water colours, for they were not injured by exposure to the weather. Could they have been painted with the size of oil, mentioned in book xxxvi., chap. 24? or were they not rather true frescoes? [46] Book xxxiv., ch. 4. [47] Before Christ, 485. [48] Book xxxiv, ch. 7. [49] “C. Fabius, a most noble Roman, who, when he had painted the walls of the Temple of Salus, before dedicated by Julius Bubulcus, he set his own name to it: as if a consular, sacerdotal, and triumphal family stood yet in want of this ornament.” Val. Max. book viii., quoted by Junius. [50] Modern Messina.