Dark‐browed Roman women are hanging out inconceivable colored rags that surely never can have served for human raiment, to dry on the wooden rails that mark our road. They are jabbering, in harsh and femininely shrill tones, their curtailed _patois_ of the Roman tongue; and the lark, in advance of the season, is carolling overhead in the motionless air and in the quivering light of the mid‐day sun. We re‐enter the city by the Porta Angelica, and are standing on the fields of the Vatican, where stood Nero’s circus and Nero’s gardens. Of all the characters of the heathen Roman Empire, none comes more prominently forward as the very type of human depravity and accomplished wickedness than that of Nero. He seems the embodiment of evil heightened by a versatility of talent and varnished by the gloss of a false poetic sense that makes him the exact opposite to all that produces heroic virtue in its greatest charm, as well as its highest glory, among the Christian saints. His was the poet nature debased to the lowest sensuality and the meanest vanity. And in the mystic saints, is there not ever something of the poet nature carried to its most subtle expression and its utmost elevation in the ascetic purity and tender devotion of a S. Francis or a S. Gertrude? There is a wonderful sequence in the low‐lying, half‐hidden events of the church’s history. There is a marvellous counterbalancing of good against evil, as though the providence of God had (if we may use the expression) taken pleasure in substituting light for darkness, and beauty for ugliness; selecting in each the exact counterpart of the other, and placing them in juxtaposition. And so it is in this spot, which most brings to our recollection the lavish and foul luxury of Rome’s artist emperor, the degraded being who was by turns actor, poet, musician, wrestler, or coachman, but fiend always! There, where the horrid pomp of his midnight revels was lighted up by the living and burning forms of the meek martyrs of the church—there we now have the grandest monument of the faith for which those martyrs died that ever has been, or probably ever will be. And the great saints, the pillars of the church, the founders and foundresses of her armies of religious orders, stand now, sculptured in cool marble niches along the aisles of that gorgeous Basilica which stands on the very ground of Nero’s infamous gardens. There, too, was another “Potter’s Field,” in which to bury strangers; for the clay soil on which S. Peter’s is built had served in the old Roman manufactory of bricks and earthenware. The potters had excavated numberless caves on the slopes of the Vatican hills, where subsequently the Christians concealed themselves, and, as in the other catacombs of Rome, celebrated the divine mysteries and buried their dead. It is said that S. Peter himself, on his first journey to Rome, baptized many in these very catacombs—many, probably, who later on had received