Many of the points touched upon have provoked endless disputations
which are not likely soon to be settled. Indeed there is hardly any
line of study one can take up in connection with Rome which does not
bristle with controversies; and a feeling of perplexity and
uncertainty continually haunts one in regard to most of the subjects.
It is not only in the vague field of the early traditions of the city,
and of the medieval traditions of the Church, that this feeling
oppresses one; it exists everywhere, even in the more solid and
assured world of Roman art, literature, and history. Where it is so
difficult to arrive at settled convictions, I may be pardoned if I
have expressed views that are open to reconsideration.

I am aware of the disadvantages connected with thus collecting
together a number of separate papers, instead of writing a uniform
treatise upon one continuous subject. The picture formed by their
union must necessarily have much of the artificiality and clumsiness
of the mosaic as compared with the oil or water-colour painting. But
only in this form could I have brought together such a great variety
of important things. And though I cannot hope that the inherent defect
of the mosaic will be compensated by its permanence--for books of this
kind do not last--yet it will surely serve some good purpose to have
such a collocation of facts regarding a place whose interest is ever
varying and never dying.

The personal element is almost entirely confined to the first chapter,
which deals on that account with more familiar incidents than the
others. Twelve years have elapsed since my memorable sojourn in Rome;
and many changes have occurred in the Eternal City since then. I have
had no opportunity to repeat my visit and to add to or correct my