We necessarily visited the Forum, where Caesar was assassinated, and also
the Tarpeian Rock. We saw the Dying Gladiator at the Capitol, and I
think that even we appreciated that wonder of art; as much, perhaps, as
we did that fearful story wrought in marble, in the Vatican--the Laocoon.
And then the Coliseum.

Every body knows the picture of the Coliseum; every body recognizes at
once that "looped and windowed" band-box with a side bitten out. Being
rather isolated, it shows to better advantage than any other of the
monuments of ancient Rome. Even the beautiful Pantheon, whose pagan
altars uphold the cross, now, and whose Venus, tricked out in consecrated
gimcracks, does reluctant duty as a Virgin Mary to-day, is built about
with shabby houses and its stateliness sadly marred. But the monarch of
all European ruins, the Coliseum, maintains that reserve and that royal
seclusion which is proper to majesty. Weeds and flowers spring from its
massy arches and its circling seats, and vines hang their fringes from
its lofty walls. An impressive silence broods over the monstrous
structure where such multitudes of men and women were wont to assemble in
other days. The butterflies have taken the places of the queens of
fashion and beauty of eighteen centuries ago, and the lizards sun
themselves in the sacred seat of the Emperor. More vividly than all the
written histories, the Coliseum tells the story of Rome's grandeur and
Rome's decay. It is the worthiest type of both that exists. Moving
about the Rome of to-day, we might find it hard to believe in her old
magnificence and her millions of population; but with this stubborn
evidence before us that she was obliged to have a theatre with sitting
room for eighty thousand persons and standing room for twenty thousand
more, to accommodate such of her citizens as required amusement, we find
belief less difficult. The Coliseum is over one thousand six hundred
feet long, seven hundred and fifty wide, and one hundred and sixty-five