was constantly afforded to Pasquin for the exercise of his peculiar
talent. Each generation gave him fresh subject for laughter or for
rebuke. Men quickly passed away, but folly and vice remained. "Do you
wonder," said Pasquin, once, in his early days, referring to his
changes of character, "do you wonder why Rome yearly changes me to a
new figure? It is because of the shifting manners of the city, and the
falling back of men. He who would be pious must depart from Rome."

"Praeteriens, forsan miraris, turba, quotannis
Cur me Roma novam mutet in effigiem.
Hoc urbis mores varios, hominumque recessus
Indicat: ergo abeat qui cupit esse pius."

During the eighteenth century Italy did not abound in poets or wits,
and Master Pasquin seems to have shared in the dulness of the times.
Toward its end, however, when Pius VI. was building the palace under
the corner of which the statue was to find shelter, the marble
representative of the tailor watched his proceedings with sharp
observation. Long ago he had rebuked the nepotism of the Popes, but
Pius had forgotten his epigrams. "Cerberus," he had said, "had three
mouths with which he barked; but you have three, or even four, which
bark not, but devour."

"Tres habuit fauces, et terno Cerberus ore
Latratus intra Tartara nigra dabat.
Et tibi plena fame tria sunt vel quatuor ora
Quae nulli latrant, quemque sed illa vorant."

Every one who has been in Rome remembers how often, on the repairs of
ancient monuments, and on the pedestals of statues or busts, are to be