B rT EMom V iew of the Ca t a c o m b s at A m e x a b t c r ia .
in the first chamber. All these chambers are cut out of the solid
rock, very neatly worked, and stuccoed over. Some of them had
square openings in the roof, to admit light, but these are now
stopped up: They are all extremely dry, and similar in style;
but how far they extend it is impossible to say, they are now so
filled, and the original entrance to them is equally unknown.
I f we may judge of the antiquity of these from their architectural
ornaments, at least such of them as we have been able to
explore may be referred to the period when the arts had passed
their meridjan. Over the great door entering into the circular
chamber above mentioned for instance, the horizontal cornice is
adorned with dentils only, without modillions, while the inclined
comice of the pediment has modillions without dentils. Now of
this no instance occurs in the works of the ancients, while the
arts were in perfection; but we cannot be surprised at finding it
as they began to decline, when all sorts of absurdities took place,
and the neglect of the ancient simplicity brought on that confusion,
which terminated in their ruin.
Thus we find the grave of the grecian art in the same country,
in which we find it’s cradle. For, notwithstanding the' inge-’
nious fancies, to which some have had recoruse for ascribing the
invention of the different orders to the greeks, it is scarce to be
doubted, that Greece borrowed it’s architecture from the country
whence it was in a great measure peopled. In purity of .taste, it
is true, the greek w ent far beyond his affican predecessor; but the
models of his temples, the principal parts of his edifices, the rudiments
of all his orders, and the ornaments with which he deco->