that I beg leave to describe it. [Illustration: Candelabrum in the Church of S. Paolo fuori le Mura.] The site of the Palazzo della Banca Nazionale, in the street of the same name, was occupied in old times by the house of Tiberius Julius Frugi, a member of the college of the Arvales. This house shared the fate of all ancient buildings: it was allowed to fall to ruin, and later became the property of whoever chose to occupy it. Among these mediæval occupants was a stonecutter who collected in the half-ruined halls fragments, blocks of columns, and marbles of various kinds, some of which had already been re-cut for new uses. There was also a deposit of the fine sand which is even now employed for sawing stones. We can judge of the approximate age in which the stonecutter lived, by the fact that in his time the pavements of the Roman house were already covered with a stratum of rubbish six feet thick. [Illustration: The Antinous of the Banca Nazionale.] A statue of Antinous, the favorite of Hadrian, deified after his death and worshipped in the form of a Bacchus, was found standing against the rear wall of the workshop. It is cut in Greek marble, and the style of sculpture is excellent. None of the prominent portions of the body have been separated from the trunk, so that the only injuries wrought by time are slight, and confined to the nose and hands. A patient study of this figure has enabled me to reconstruct its story. First of all, we are sure that, from the knees down, the statue had been immersed in a stream of water for a very long period, because the surface of the marble is corroded and full of small holes, caused by the action of running water. It also bears visible traces of having been scraped with a piece of iron and scoured to get rid of the mud and calcareous carbonates with which it must have been incrusted when taken out of the stream. These facts concur to prove that the Antinous, having been thrown into the water, or having fallen in by accident, was found or bought after the lapse of centuries, by our stonecutter. An attempt was then made to clean the statue, and, with the intention of preserving it as a work of art and a model, it was placed in the best room of the workshop. Both were buried for a second time, to be brought to light again in 1886. The statue can now be seen in the vestibule of the Banca Nazionale. * * * * * As representative specimens of later art and later glories I venture to suggest the tombs of Innocent VIII. (1484-1492) by Antonio Pollaiuolo, of Paul III. (1524-1549) by Guglielmo della Porta, and of Clement XIII. (1758-1769) by Antonio Canova. [Illustration: TOMB OF INNOCENT VIII]