"Still harping" on the Fine Arts—Architecture and Painting. Of the former, the above engraving is an illustration; and of the latter, our readers will find a beautiful subject (from one of Turner's pictures) in a Supplement published with the present Number.1

      The Arches of Rome were splendid monuments of triumph, erected in honour of her illustrious generals. They were at first very simple, being built of brick or hewn stone, and of a semicircular figure; but afterwards more magnificent, built of the finest marble, and of a square figure, with a large, arched gate in the middle, and two small ones on each side, adorned with columns and statues. In the vault of the middle gate, hung winged figures of victory, bearing crowns in their hands, which, when let down, they placed on the victor's head, when he passed in triumph.

      The Arch of Constantine, the most noble of all of these structures, subsists almost entire. It was erected by the senate and Roman people, in honour of Constantine, after his victory over Maxentius, and crosses the Appian Way, at the junction of the Coelian and Palatine Hills. Here it stands as the last monument of Roman triumph, or like the December sun of "the world's sole monument."

      This building consists of three arches, of which the centre is the largest; and has two fronts, each adorned with four columns of giallo antico marble, of the Corinthian order, and fluted, supporting a cornice, on which stand eight Dacian captives of Pavonazzetta, or violet-coloured marble.

      The inscription on both sides of the architrave imports, that it was dedicated "to the Emperor Cæsar Flavius Constantine Augustus, the greatest, pious, and the happy; because by a divine impulse, the greatness of his courage, and the aid of his army, he avenged the republic by his just arms, and, at the same time, rescued it from the tyrant and his whole faction." On one side of the arch are the words, "Liberatori urbis," to the deliverer of the city; and on the other, "Fundatori quietis," to the founder of public tranquillity.

      Although erected to the honour of Constantine, this arch commemorates the victories of Trajan, some of the basso-relievos, &c. having been pilfered from one of the arches of Trajan. This accounts for the Dacian captives, whose heads Lorenzo de Medicis broke off and conveyed to Florence, but the theft might not have been so notorious to posterity, had not the artists of Constantine's time added some figures of inferior merit. Forsyth says, "Constantine's reign was notorious for architectural robbery;" and the styles of the two emperors, in the present arch, mar the harmony by their unsightly contrasts.

      Although the decree for erecting this arch was, without doubt, passed immediately after the defeat of Maxentius, it appears from the monument itself, that the building was not finished and dedicated till the tenth year of Constantine's reign, or the year of Christ 315 or 316.

      The newly-erected arch opposite the entrance to Hyde Park is from the Roman arch, though, we believe, not from any particular model. In the View of the New Palace, St. James's Park, (in our No. 278,) the arch, to be called the Waterloo Monument, and erected in the middle of the area of the palace, will be nearly a copy of that of Constantine at Rome. In the court-yard of the Tuilleries at Paris, there is a similar arch, copied from that of Septimius Severus. This was formerly surmounted by the celebrated group of the horses of St. Mark, pilfered from Venice, but restored at the peace of 1815.

      THE BEGGAR'S DAUGHTER OF BETHNAL GREEN

      The popular ballad of "The Beggar's Daughter of Bednall-Greene" was written in the reign of Queen Elizabeth. It is founded, though without the least appearance of truth, or even probability, on a legend of the time of Henry III. Henry de Montfort, son of the ambitious Earl of Leicester, who was slain with his father at the memorable battle of Evesham, is the hero of the tale. He is supposed (according to the legend) to have been discovered among the bodies of the slain by a young lady, in an almost lifeless state, and deprived of sight by a wound, which he had received during the engagement. Under the fostering hand of this "faire damosel" he soon recovered, and afterwards marrying her, she became the mother of "the comelye and prettye Bessee." Fearing lest his rank and person should be discovered by his enemies, he disguised himself in the habit of a beggar, and took up his abode at Bethnal-Green. The beauty of his daughter attracted many suitors, and she was at length married to a noble knight, who, regardless of her supposed meanness and poverty, had the courage to make her his wife, her other lovers having deserted her on account of her low origin. Before entering, however, upon the ballad, it may not, perhaps, be thought irrelevant to give a brief sketch of the family of the De Montforts.

      Simon de Montfort, created Earl of Leicester by Henry III., was the younger son of Simon de Montfort, the renowned but cruel commander of the croisade against the Albigenses. This nobleman was greatly honoured by Henry III., to whose sister, the Countess Dowager of Pembroke, he paid his addresses, and was married, with the consent of her brother. For the favour thus shown him by his sovereign, he, however, proved ungrateful: his inordinate ambition, cloaked by a pretended zeal for reform, was the cause of those rebellions which, in the reign of Henry III., kept the kingdom in such a continued turmoil. The different oppressions and successes of the confederate barons, who at length got possession of the king's person, and the civil wars which ensued, are so well known as to render any remark on the subject superfluous; suffice it to say, that the disputes between the malcontents and the royal party were at length terminated by the battle of Evesham, which decided in favour of the latter. In this field fell the Earl of Leicester and his eldest son, Henry de Montfort. His death was followed by the total ruin of his family; his titles and estates were all confiscated; the countess, his wife, who had been extremely active in her designs against the royalists, was banished, together with her sons, Simon and Guy, who afterwards assassinated their cousin, Henry d'Allmane, when he was endeavouring to effect a reconciliation between them and their uncle, Henry IV. The head of the earl was sent as a signal of the victory by Roger de Mortimer to the countess; but his body, together with that of his son Henry, was interred in the Abbey of Evesham; thus leaving the improbability of the legend without a shadow of doubt.

      As our limits will not allow us to quote the whole of the ballad,2 we must content ourselves with giving the song of the beggar, which, as well as being the most interesting, contains the whole of the legend concerning de Montfort:—