unfinished by the sculptor; there not being
sufficient space for the figure, which is partly designed on the
adjoining pilaster.

On the east front is a winged female bearing the attributes of Victory,
with several women and warriors, and an allegorical personage said to
represent a river, because it holds in one hand a symbol of water. This
last figure, also, is partly sculptured on the contiguous pilaster, as
is the one previously noted, which proves that these ornaments were not
executed at the time of the erection of the edifice.

The pediment has a simple cornice around it, and the angles are
finished by voluted pilasters without a base, but with Ionic capitals,
which have an extraordinary effect. Above the basso-relievo is a
massive garland, supported by three boys, at equal distances; and
between them are four heads of old men, as hideously grotesque as the
imaginations of the sculptors could render them.

The first stage of the mausoleum which rises from this pedestal is
pierced by an arch on each side, in the form of a portico, and their
archivaults are ornamented by foliage and scrolls.

The arches rest on plain pilasters, with capitals more resembling the
Doric than any other order of architecture. On the keystone of each
arch is the mark of a youthful male head, surmounted by two wings. The
four angles of the first stage are finished by a fluted column, with a
capital charmingly executed, like, but not quite, the Corinthian. These
columns sustain an entablature or two, which terminate this stage, and
its frieze is enriched with sculpture representing winged sea-monsters
and sirens with sacrificial instruments.

Above the first stage rises the second, which is of a round form, with
ten fluted columns, which support its circular entablature; the
capitals of these columns are similar to those of the first stage, and
the frieze is ornamented with foliage delicately sculptured.

A round cupola terminates this building, through which the light shines
in on every side, although two male statues in togas occupy the centre
of it.

To view the height at which these figures are placed, one would suppose
they were safe from the attacks of the mischievous or the curious;
nevertheless, they did not escape, for, many years ago, during the
night, their heads were taken off, and those that replaced them reflect
little credit on the taste or skill of the modern sculptor who executed
the task.

On the architrave of t