From the point of view of archæological interests Paul III. will always be remembered as long as the Museo Nazionale of Naples and the Baths of Caracalla of Rome continue to hold the admiration of students. In reading the account of his excavation of the Baths, we seem to be transported to dreamland. No one before him had laid hands on the immeasurable treasures which the building contained. Statues were found in their niches or lying in front of them; the columns were standing on their pedestals; the walls were still incrusted with rare marbles and richly carved panels; the swimming-basins were still ready for use. Pietro Sante Bartoli says: "The excavation of the Baths of Caracalla, which took place in the time of Paul III. (1546) is the most successful ever accomplished. It yielded such a mass of statues, columns, bas-reliefs, marbles, cameos, intaglios, bronze figures, medals, and lamps, that no more room could be found for them in the Farnese palace." The collection comprises the Farnese Bull, the two statues of Herakles, the Flora, the Athletes, the Venus Callipyge, the Diana, the "Atreus and Thyestes," the so-called "Tuccia," and a hundred more masterpieces, which were, unfortunately, removed to Naples towards the end of the last century. THE TOMB OF CLEMENT XIII. From the golden age of Guglielmo della Porta to the barocco art of the eighteenth century; from the tomb of Alessandro Farnese to that of Prospero Lambertini (Benedict XIV., 1740-1758), we can follow, stage by stage, the pernicious influence exercised on Roman art by the school of Bernini. The richness and magnificence of papal mausolea increased in proportion to the decline in taste. The sculptors seem to have had but one ambition, to produce a theatrical effect; their abuse of polychromy is incredible; the grouping of their figures conventional; the contortions to which they submit their Hopes and Charities, their Liberalities and Benevolences, their Justices and Prudences are simply absurd. Pietro Bracci, the artist of the monument of Benedict XIV., by pushing mannerism to the extreme point, caused a wholesome reaction in art. The tomb of Clement XIII., Carlo Rezzonico of Venice (1758-1769), was intrusted to Canova. There is the difference of a few years only between the two, but it seems as if there were centuries. This monument, which marks a prodigious reaction towards the pure ideals of classical art, was uncovered on April 4, 1795, before an immense assembly of people. The whole of Rome was there, and the defeat of the partisans of Bernini's style could not have been more complete. [Illustration: FIGURE FROM THE TOMB OF CLEMENT XIII]