The work--the work, in light and strength and glory stands; but the skilled and cunning workman is brought low, and lies cold and silent. The crowded and glorious, almost living cathedral--the richly bedecked body dismantled, deserted, dead. Was ever contrast so wide or suggestive? The white, shining arches and pinnacles, up-pointing in architectural splendor. The architect lies under them prone, unconscious, decaying. The beautiful windows, all storied in colors almost supernatural, and telling their histories and honoring their place. But the temple of the Cardinal's soul is in ruins, the windows are broken, and its day is darkness and mold. So, silent he lies in his house, surrounded by his faithful, whose cries and lamentations he hears not, his cold hands clasped, his dead face uncovered, as though looking above its high vaulted roof. I seemed to see again the bedizened skeleton of old St. Carlo Borromeo in the crypt of the Cathedral of Milan, as lying in his coffin of glass, his bones all bleached and dressed. But the careless throngs go thoughtlessly, noisily on. Some weep, some laugh, and Thursday, the day of sepulture, comes. What masses of people! What platoons of police! The magnificent temple is packed by pious thousands. The four candles about the bier become four shining rows. The glitter of royal violet velvet and cloth of gold add to the gorgeous trappings of the dead. The waiting multitudes look breathlessly at the black draped columns, the emblems of mourning put on here and there. Without announcement a single voice cries out from the dusky chancel the first lines of the office for the dead. A great Gregorian choir of boys takes up the wail, and their shrill treble is by-and-by joined by the hoarser notes of four hundred priests, in the solemn music of the Pontifical Requiem Mass. It has never been given to mortal ears to listen to such marvels of musical sound in this country. Anon the great organs and the united choirs render the master's most mournful music for the dead. Then processions, then eulogy. And what eulogy! Schools, colleges, convents, asylums, protectories, palaces, cathedrals, churches. What a vast and impressive testimony! What a company rises up to call him blessed! This imposing pageantry is not an empty show. It is Rome's display of her resources and power. Who else can have such processions and vestments and music? Who can so minister to the inherent, perhaps barbaric remnant, love for display? In the wide world where can the ear of man catch such harmonies? The music, as a whole, was a deluge of lofty and inspiring expressions. Anguish, despair, devotion, submission, elevation! Ah, how the lofty Gothic arches thundered! How they sighed and cried and melted. The great assembly was swayed, awe-struck, like branches of forest trees in gales or in zephyrs. The influence of those melodies will not die. Oh! Rome is old, Rome is new; Rome is wise. Rome is the Solomon of the Churches.