elongated niches, rising tier above tier, each bearing a long white marble tablet, surrounded by a broad border of dark serpentine breccia. The interior generally is faced with white marble, which is toned down by the interspaces of the darker material, and the effect produced by these simple monumental corridors, these silent records of those who have rested from their labors, is impressive, if somewhat melancholy. In the cloisters, as a rule, the more sumptuous memorials are to be found. Here commonly sections of the wall are given up to the monuments of a family, the vaults, as I infer, being underneath the pavement. These memorials are often elaborate in design, and costly in their materials. They will be, and are, greatly admired by those to whose minds sumptuousness is the chief element in beauty, and rather second-rate execution of conceptions distinctly third-rate gives no offense. Others, however, will be chiefly impressed with the inferiority of modern statuary to the better work of classic ages, and will doubt whether the more ambitious compositions which met our eyes in these galleries are preferable to the simple dignity of the mediæval altar tomb, and the calm repose of its recumbent figure. The drive to the Campo Santo, in addition to affording a view of one of the more perfect parts of the old defensive enclosure of Genoa, of which the Porta Chiappia, one of the smaller gates, may serve as an example, passes within sight, though at some distance below, one of the few relics of classic time which the city has retained. This is the aqueduct which was constructed by the Romans. Some portions of it, so far as can be seen from below, appear to belong to the original structure; but, as it is still in use, it has been in many parts more or less reconstructed and modernized.