that other baptism of blood in the ghastly revels of Nero’s gardens, and whose remains were gathered together secretly by the brethren, and buried in the caves of the “Potter’s Fields.” And now the strangers have become possessors; the holy dead have consecrated what might well have been called another “field of blood”; and the successors of S. Peter sit in reverend state and govern Christendom on the very spot where the first Bishop of Rome celebrated in secret the first Masses Rome ever witnessed. The grain of mustard‐seed has indeed become a great and goodly tree, and the birds of all nations and all ages lodge in the beneficent shadow of its branches. The whole history of the Basilica of S. Peter, whether the first that sheltered the relics of the apostles, or the present more magnificent one, built from the designs of Bernini, and completed by Michael Angelo, teems with facts of this nature. The old roof of S. Peter’s was covered by Pope Honorius I. with the gilt bronze tiles that had roofed, some historians say the temple of Romulus, others that of Jupiter Capitolinus, possibly of both; as though the first founders of pagan Rome, the Romulus and Remus of history and legend, were to pay tribute to the founders of Christian Rome, the great apostles SS. Peter and Paul, whose blood cemented the walls of the early church, and over whose sacred relics that venerable roof was to hang; or, as if the false Jove, dethroned and vanquished by the fisherman, were stripped of his splendor to do honor to the true God. The tiles have been removed elsewhere now, but the fact still retains its touching import. And the like is carried out in the present Basilica; for the Pantheon, raised to the honor of its myriad of demon gods, gave up the bronze of its portico at the command of Urban VIII., that out of it Bernini might fashion that wonderful work, the _Baldacchino_ over the high altar. Wonderful work! that, as we gaze at it, never weary and ever admiring, we ask ourselves in what way the mind of the architect(78) wrought when he brought forth this splendid design. Did it come to him at once, like the one grand idea ruling all the cadences of action in a Greek play? Or did he build it up, piece by piece, in his soul, and touch and retouch the beautiful image like the finished diversities of an idyl? We incline to the first, for that is most like inspiration, and the _Baldacchino_ of S. Peter’s must have been an inspiration.