From That Level You Descend By Marble Steps Which Must Have Some Trouble In Knowing Themselves From The Cascades Pouring Down The Broken Steeps Beside Them, And Com-Panionably Sharing Their Seclusion Among The Cypresses And Ilexes.

You are never out of the sight and sound of the plunging water, which is still trained in falls and fountains, or left to a pathetic dribble through the tattered stucco of the neglected grots.

It is now a good three centuries and a half since the Cardinal Ippolito d'.Este had these gardens laid out and his pleasure-house built overlooking them; and his gardener did not plan so substantially as his architect. In fact, you might suppose that the landscapist wrought with an eye to the loveliness of the ruin it all would soon fall into, and, where he used stone, used it fragilely, so that it would ultimately suggest old frayed and broken lace. Clearly he meant some of the cataracts to face one another, and to have a centre from which they could all be seen - say the still, dull-green basin which occupies a large space in the grounds between them. But he must have meant this for a surprise to the spectator, who easily misses it under the trees overleaning the moss-grown walks which hardly kept themselves from running wild. There is a sense of crumbling decorations of statues, broken in their rococo caverns; of cypresses carelessly grouped and fallen out of their proper straightness and slimness; of unkempt bushes crowding the space beneath; of fragmentary gods or giants half hid in the tangling grasses. It all has the air of something impatiently done for eager luxury, and its greatest charm is such as might have been expected to be won from eventual waste and wreck. If there was design in the treatment of the propitious ground, self-shaped to an irregular amphitheatre, it is now obscured, and the cultiavted tourist of our day may reasonably please himself with the belief that he is having a better time there than the academic Roman of the sixteenth century.

Academic it all is, however hastily and nonchalantly, and I feel that I have so signally failed to make the charm of the villa felt that I am going to let a far politer observer celebate the beauties of the other supreme interest of Tivoli. When Mr. Gray (as the poet loved to be called in print) visited the town with Mr. Walpole in May, 1740, the Villa d'Este by no means shared the honors of the cataracts, and Mr. Gray seems not to have thought it worth seriously describing in his letter to Mr. West, but mocks the casino with a playful mention before proceeding to speak fully, if still playfully, of the great attraction of Tivoli: "Dame Nature . . . has built here three or four little mountains and laid them out in an irregular semicircle; from certain others behind, at a greater distance, she has drawn a canal into which she has put a little river of hers called the Anio, . . . which she has no sooner done, but, like a heedless chit, it tumbles down a declivity fifty feet perpendicular, breaks itself all to shatters, and is converted into a shower of rain, where the sun forms many a bow - red, green, blue, and yellow. . . . By this time it has divided itself, being crossed and opposed by the rocks, into four several streams, each of which, in emulation of the greater one, will tumble down, too: and it does tumble down, but not from an equally elevated place; so that you have at one view all these cascades intermixed with groves of olive and little woods, the mountains rising behind them, and on the top of one (that which forms the extremity of the half-circle's horns) is seated the town itself. At the very extremity of that extremity, on the brink of the precipice, stands the Sibyls' Temple, the remains of a little rotunda, surrounded with its portico, above half of whose beautiful Corinthian pillars are still standing and entire."

For the reader who has been on the spot the poet's words will paint a vivid picture of the scene; for the reader who has not been there, so much the worse; he should lose no time in going, and drinking a cup of the local wine at a table of the restaurant now in possession of Mr. Gray's point of view. I do not know a more filling moment, exclusive of the wine, than he can enjoy there, with those cascades before him and those temples beside him; for Mr. Gray has mentioned only one of the two, I do not know why, that exist on this enchanted spot, and that define their sharp, black shadows as with an inky line just beyond the restaurant tables. One is round and the other oblong, and the round one has been called the Sibyls', though now it is getting itself called Vesta's - the goddess who long unrightfully claimed the temple of Mater Matuta in the Forum Boarium at Rome. As Vesta has lately been dispossessed there by archaeology (which seems in Rome to enjoy the plenary powers of our Boards of Health), she may have been given the Sibyls' Temple at Tivoli in compensation; but all this does not really matter. What really matters is the mighty chasm which yawns away almost from your feet, where you sit, and the cataracts, from their brinks, high or low, plunging into it, and the wavering columns of mist weakly striving upward out of it: the whole hacked by those mountains Mr. Gray mentions, with belts of olive orchard on their flanks, and wild paths furrowing and wrinkling their stern faces. To your right there is a sheeted cataract falling from the basins of the town laundry, where the toil of the washers melts into nmsic, and their chatter, like that of birds, drifts brokenly across the abyss to you. While you sit musing or murmuring in your rapture, two mandolins and a guitar smilingly intrude, and after a prelude of Italian airs swing into strains which presently, through your revery, you recognize as "In the Bowery" and "Just One Girl," and the smile of the two mandolins and the guitar spreads to a grin of sympathy, and you are no longer at the Caffe Sibylla in Tivoli, but in your own Manhattan on some fairy roof-garden, or at some sixty-cent _table d'hote,_ with wine and music included.

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