During its palmy days in the early centuries, this cemetery had become greatly enriched with splendid monuments and sarcophagi, partly heathen and partly Christian, but all designed and executed after the Roman or Grecian manner. At the Renaissance these ancient classic monuments were specially prized and admired, and many of them were removed. Sarcophagi were distributed as specimens of early Christian art to Rome, Lyons, and other towns; the place was gradually deserted and destroyed, and the monuments were finally turned to common and ignominious uses such as cattle troughs and bridges over the ditches in the fields. Now the few remaining tombs have been collected and placed on each side of the road leading to the chapel of St Honorat (Fig. 13), where they produce from their position and their classic forms a striking resemblance to the burial places of the Romans, which lined the wayside at the entrances to their cities, such as the Appian way at Rome, and the approach to Pompeii. [Illustration: FIG. 14. FROM ARLES MUSEUM.] A large number of the finest sarcophagi have fortunately been preserved in the Arles museum. Some of them certainly belong to Pagan times, but most of them are of later date. Many are adorned with bas-reliefs, representing the hunt of the Stag or Wild Boar, Apollo and the Muses, and other classic and allegorical subjects. [Illustration: FIG. 15. TOMB OF CORNELIA, ARLES.] A museum has been established in the disused Gothic Church of St Anne, in which some fine examples of classic sculpture are preserved. Besides the Pagan sarcophagi above referred to it contains some Roman or rather Greek sculptures of considerable purity and beauty; the Grecian descent and culture of the country being distinctly observable in these monuments--just as the same Greek feeling prevails in the paintings and sculpture of Pompeii. The fragment of a statue of a female dancer (Fig. 14) is particularly graceful in pose and in the execution of the drapery. The sarcophagus (Fig. 15), with an inscription and two well carved festoons, is called the Tomb of Cornelia. Fig. 16 shews a finely carved oak wreath and vase on the monument to the “good Goddess,” and a beautifully sculptured though mutilated bust of the Empress Livia. Fig. 17 represents a fragment of very spirited carving of foliage said to be from the frieze of the Arc de Triomph, an amphora and a Corinthian capital. [Illustration: FIG. 16. FROM ARLES MUSEUM.] The Museum also includes a large number of early [Illustration: FIG. 17. FROM ARLES MUSEUM.]