The Monte Pope (Julius III belonged to the Roman family of Monte) would leave the Vatican by the passage leading to the Castle of St. Angelo, take there a magnificent barge and be rowed up the great sweep of the Tiber to the landing-place at the foot of the Arco Oscuro. Here a fine flight of steps was constructed leading up to a vaulted pergola which traversed the fields between the Tiber and the Via Flaminia. The pergola was a bower of verdure and terminated in a fine building and gateway bordering the Tiber side of the Via Flaminia. Here it was necessary to cross the great highway in order to begin the ascent of the Arco Oscuro, which led directly to his new villa. The highway was dusty, and the _salita_ or ascent long and steep, and the Pope decided to create a resting-place at this point. He had begun digging for water very early, while cultivating his vineyard, “without ever having had the slightest indication that water could be found there.” Eventually he accomplished his purpose, for he succeeded in bringing to his vineyard the leakage waters of the Virgo Aqueduct. The “leakage” was very much in the nature of a tap, and the proceeding was high-handed and reprehensible to a degree. In imperial days such tampering with the aqueducts was visited by punishment which Frontinus considered not too severe for so great a crime against the public welfare. Julius III’s pontificate lasted only five years; but in the year following his death the Virgo Aqueduct had already ceased to supply the city, and his successors, Pius IV, Pius V, and Gregory XIII, were obliged to begin and carry on a systematic and thorough restoration and enlargement of the aqueduct. For Julius III the wonderful water was only a perquisite belonging to the “good gift of the papacy,” and he devoted his short pontificate to its exploitation and adornment, possibly silencing his scruples by the thought that the construction of a public fountain on this highway justified his manner of obtaining the water. At the two opposite angles of the Via Flaminia and the Arco Oscuro, where the ascent toward his villa began, he erected two fountains, blunting the acute end of each angle by a mostra or high façade from the base of which issued the water. The fountain on the right-hand side was a drinking-trough for horses, while that on the left was one of the most beautiful and interesting fountains in all Rome. It was the work of Bartolomeo Amannati, possibly assisted by Vignola; and very often must the youthful Domenico Fontana have studied it, for the famous “Fontana Fountain” is only a modification of this truly beautiful work of the dying Renaissance. It is noticeable that Amannati’s fountain is not a screen nor a gateway; its mostra stands against a solid background with severely plain wings of the same height flanking it at an angle on either side. This mostra is of peperino in the Corinthian order, the columns supporting a fine classic entablature and pediment.