recessed and ornamented on either side with columns bearing foliated capitals, from whence spring a series of arched mouldings, richly carved and decorated. Between these columns project angular piers enriched with lozenges, roses, foliage, and ornaments of varied pattern and curious device. The upper part of these piers between the capitals of the columns is hollowed out, and carved half-length human figures, representing a king and queen, monks and saints, have been inserted. Some of these figures bold scrolls of paper in their hands, and others rest in the attitude of prayer. Over them, between the ribs of the arch, are four rows of enriched foliage springing from the mouths of human heads. Having passed this elegant and elaborately-wrought doorway, we enter that portion of the church called by the old writers m%t &0Ult&, which consists of an inner circular area formed by a round tower resting on six clustered columns, and of a circular external aisle or cloister, connected with the round tower by a sloping roof on the outside, and internally by a groined vaulted ceiling. The beauty and elegance of the building from this point, with its circular colonnades, storied windows, and long perspective of architectural magnificence, cannot be described—it must be seen. Prom the centre of the Round, the eye is carried upward to the vaulted ceiling of the inner circular tower with its groined ribs and carved bosses. This tower rests on six clustered marble columns, from whence spring six pointed arches enriched with numerous mouldings. The clustered columns are composed of four marble shafts, surmounted by foliated capitals, which are