When Roman power decayed, the signs of its decadence were manifest in the departure from old severity into an efflorescence of ornament and a magnificence of mere size out of all proportion to the constructive meaning of the work. In Baalbek, Rome has left us a monument of such decadence. The elaborated detail is foreign to the grand simplicity of the old Roman style, and the exaggerated size is but boastfulness. “The Romans had seen the huge Jewish stones at Jerusalem” (as Dr. Merrill explained the matter to us) “and began at Baalbek to work on a bigger scale, the Barnums of the ancient world, whose ambition was to run the biggest show on earth. By and by they got tired of that, and left it off; it was not their line, after all.” “The line” of Rome was a very straight and simple one. With immense power and a great and single purpose, she went straight forward, and did what she meant to do. Hers was a rough simplicity which never failed. Strange that, with so mighty a resource, she should have ever gone out of her line to attempt any other work than her own! When men or nations discover their limitations, and rashly make up their mind no longer to stay within them, their ambition has already begun to foreshadow their downfall. The pathos of seeing anything which evidently was once so competent and so strong, now so absolutely dead as Rome is, is heightened almost to weeping, in those places where the little and everyday memorials of her former life are commonest. It is not the gigantic monoliths, but the little tesseræ, not the fallen columns, but the broken jar-handles, that touch the heart most. Between Tyre and Sidon the rider passes over fields every stone of which is a fragment of some marble slab or curiously-carved piece of masonry. His horse is overturning the remains of Ornithopolis, “the city of the bird,” in these ploughed fields. But it is at Samaria that the emotion is most irresistible. Where the “fat valley” opens to the westward, a conical hill, slightly oval and with flattened top now clad with an orchard, nestles in and yet lies apart from the bend of the mountains of Ephraim. It was this hill that Omri bought from Shomer for the heavy price of two talents of silver. It was here that the city rose--the inferior houses (if we may reconstruct the probable past) of white brick, with rafters of sycamore; the grander ones of hewn stone and cedar--while the royal palace overtopped them all. A broad wall with terraced top encircled it, and the city lay there, “a vast luxurious couch, in which its nobles rested securely, ‘propped and cushioned up on both sides as in the cherished corner of a rich divan.’” It was Ahab’s capital too, and after the varying fortunes of centuries it was granted to Herod the Great by Augustus, who immediately called it by the Greek name of the emperor, Sebaste, and proceeded to rebuild it in a style of unheard-of magnificence. A hippodrome appeared in the hollow, a temple on the hill. Round the