For here is the famous Latomia del Paradiso, quarry, prison, guard-house, and burial-place of the Syracusan Greek, and the yet more famous Theater, inferior to that of Taormina in the completeness of the stage and proscenium, but containing the most perfectly preserved auditorium in the world. The entrance to the Latomia, that gigantic, ear-shaped orifice hewn out of the limestone cliff, and leading into a vast whispering-chamber, the acoustic properties of which have caused it to be identified with the (historic or legendary) Ear of Dionysius, has a strange, wild impressiveness of its own. But in beauty though not in grandeur it is excelled by another abandoned limestone quarry in the neighborhood, which has been converted by its owner into an orangery. This lies midway between the Latomia del Paradiso and the Quarry of the Cappuccini, and is in truth a lovely retreat. Over it broods the perfect stillness that never seems so deep as in those deserted places which have once been haunts of busy life. It is rich in the spiritual charm of natural beauty and the sensuous luxury of sub-tropical culture: close at hand the green and gold of orange trees, in the middle distance the solemn plumes of the cypresses, and farther still the dazzling white walls of the limestone which the blue sky bends down to meet. To pass from the quarries to the remains of the Greek Theater hard by is in some measure to exchange the delight of the eye for the subtler pleasures of mental association. Not that the concentric curves of these moldering and moss-lined stone benches are without their appeal to the senses. On the contrary, they are beautiful in themselves, and, like all architectural ruins, than which no animate things in nature more perfectly illustrate the scientific doctrine of "adaptation to environment," they harmonize deliciously in line and tone with their natural surroundings. Yet to most people, and especially so to those of the contemplative habit, the Greek Theater at Syracuse, like the Amphitheaters of Rome and Verona, will be most impressive at moments when the senses are least active and the imagination busiest. It is when we abstract the mind from the existing conditions of the ruin; it is when we "restore" it by those processes of mental architecture which can never blunder into Vandalism; it is when we re-people its silent, time-worn benches with the eager, thronging life of twenty centuries ago, that there is most of magic in its spell. And here surely imagination has not too arduous a task, so powerfully is it assisted by the wonderful completeness of these remains. More than forty tiers of seats shaped out of the natural limestone of the rock can still be quite distinctly traced; and though their marble facings have of course long moldered into dust, whole _cunei_ of them are still practically as uninjured by time, still as fit for the use for which they were intended, as when the Syracusans of the great age of Attic Drama flocked hither to