By dint of many rambles I am become fairly versed in the topography of Rome; but its history, as elucidated by monuments or relics, is a perpetual riddle to the beholder. The Republic, the Empire, the Barbarian Invasions, Free Lances, Barons, Kings, and Popes--all are suggested; all come before you in confused array; not unfrequently, three or four at once. You shall go into a church to hear mass amid modern tawdriness, entering through a mediæval porch, taking your place between walls that were put up long before the Christian era, and under a roof supported by pillars whereon the sun of Phrygia has shone. Pagan and Christian--all is jumbled; until finally, unless you have the patience of Job and the zeal of an antiquarian, you begin to doubt all legendary and historic lore, and to measure what you see by its external attractiveness alone. One thing, however, is clearly marked. You are groping about, in a state of vexed uncertainty; suddenly you come upon an inscription, conspicuous, in large legible letters, often gilded. Now you are grateful. You stride up; and lo, there stands, emblazoned before you the interesting fact that such or such a Pontifex Maximus, some Benedict, or Clemens, or Pius, or Leo, or Gregory, restored, excavated, ornamented, or built, as the case may have been, the object upon which you have been pondering. Neither, in the dearth of desirable information, are you compensated by the opportunity of picking up chronological knowledge in regard to the Papacy. These fulsome records omit, not only all description that might be useful; they fail to mention the year of the World, or the year of Grace, altogether. In place thereof, you learn that the digging or decoration in question took place in a certain year of the reign of a certain Pope; but as the chair of St. Peter has had one hundred and sixteen occupants, between A.D. 1000 and A.D. 1860, "Anno VI. of Innocent VI." or "Anno II. of Julius II." does not materially aid the memory as to dates. This petty craving after chiselled or painted immortality is nowhere more contemptibly exhibited than in Raphael's famous Loggie at the Vatican, where, over each separate window, one reads in staring type, "Leo X., Pontifex Maximus." Surely there is something strangely inconsistent, in a power that boasts its remote origin and its endowment in perpetuity, thus taking infinite pains to isolate its historical fragments.