ne circular cell only, with a
porch. This form was probably the origin of the series of circular
Roman buildings which includes such forms of temples as that at
Tivoli, and many of the famous mausolea, _e.g._ that of Hadrian, and
the culmination of which style is seen in the Pantheon. It is
interesting to notice that the Romans never entirely gave up the
circular form, one instance of its use in Britain at a late period of
the Roman occupation having been discovered in the ruins of Silchester
near Basingstoke; and we shall find that it was perpetuated in
Christian baptisteries, tombs, and occasionally churches.

We know from the traces of such buildings which exist, that the
Etruscans must have constructed theatres and amphitheatres, and it is
recorded that the first Tarquin laid out the Circus Maximus and
instituted the great games held there. At Sutri there are ruins of an
amphitheatre which is nearly a perfect circle, measuring 265 ft. in
its greatest breadth and 295 ft. in length.

There are no remains of other buildings which would enable us to form
an opinion as to the civic architecture of the Etruscans: they must,
however, have attained to a considerable skill in sculpture, as in
some of the tombs figures are represented in high relief which show no
small power of expression. They, too, like the Egyptians, embellished
their tombs with mural paintings. These are generally in outline, and
represent human figures and animals in scenes of every-day life, with
conventionalised foliage, or mythological scenes such as the passage
of the soul after death to the judgment-seat where its actions in life
are to be adjudicated upon. In the plastic arts the Etruscans made
great progress, many of their vases showing a delicacy and grace which
have never been surpassed, and exhibiting in their decorations traces
of both Greek and Egyptian influence.

* * * * *

We now reach the last of the classical styles of antiquity, the
Roman,--a style which, however, is rather an adaptation or
amalgamation of other styles than an original and independent creation
or development. The contrast is very great between the "lively
Grecian," imaginative and idealistic in the highest degree--who seemed
to have an innate genius for art and beauty, and who was always eager
to perpetuate in marble his ideal conception of the "hero from whose
loins he sprung," or to immortalise with some splendid work of art the
nam