The main street of Valletta on the other hand is lined by good, and in most cases by handsome, houses, frequently with little covered stone balconies which lend a peculiar character to the buildings. The yellow limestone is also pleasant to look upon, while the many palaces which the comfort-loving knights erected for their shelter, impart to Valletta the appearance of a "a city built by gentlemen for gentlemen." Here on the right is the pretty Opera House (open, in common with the private theaters, on Sunday and Saturday alike), and on the other side of the road the Auberge of the Language of Provence, now occupied by the Union Club. A little farther on, in an open space shaded with trees, is the Church of St. John, on which the knights lavished their riches, and still, notwithstanding the pillage of the French troops in 1798, rich in vessels of gold and silver, crosses, pixes, jewels, monuments chivalric emblazonments, paintings, carven stone and other ecclesiastical embellishments, though like the wealthy order of military monks, whose pride it was, the Church of St. John is ostentatiously plain on the outside. The Auberge d'Auvergne, now the Courts of Justice, is on the other side of the street, and hard by, a building which was formerly the Treasury of the Knights, the storehouse into which was gathered the contributions of the Commanderies throughout Europe. The Public Library fronted by some trees a little way back from the road is interesting from its containing the books of the Bailiff Louis de Tencin, the Grand Master de Rohan (who erected it), and of many of the more lettered knights, besides a good collection of the island antiquities. Close to it is the palace of the Grand Master, now the residence of the Governor, or in part utilized as Government offices. The courtyards, planted with oranges, euphorbias, hibiscus, and other greenery, and the walls covered with Bougainvillia, have a delightfully cool appearance to the pedestrian who enters from the hot street; while the broad marble staircase, the corridors lined with portraits and men-at-arms, and pictures representing the warlike exploits of the knightly galleys, the armory full of ancient weapons, and majolica vases from the Pharmacy, and the numerous relics of the former rulers of the island, are worthy of a long study by those interested in art or antiquity. The Council Chamber also merits a visit, for there may be seen the priceless hangings of Brussels tapestry. And last of all, the idlest of tourists is not likely to neglect the Hall of St. Michael and St. George, the frescoes celebrating the famous deeds of the Order of St. John, and the quaint clock in the interior court, which, according to Maltese legend, was brought from Rhodes when that island was abandoned after a resistance only less glorious than a victory. For, as Charles V. exclaimed when he heard of the surrender which led to Malta becoming the home of the knights, "there has been nothing in the world so well lost as Rhodes." The main guard, with its pompous Latin inscription recording how "Magnæ et invictæ Britanniæ Melitensium Amor et Europæ vox Has insulas confirmant AN MDCCCXIV," is exactly opposite the palace. But when the visitor sees the wealth of art which the knights were forced to leave behind them, he is apt to be puzzled how the Maltese, who contributed not one baiocco to buy it, or to build these palaces or fortifications, could either through "Amor," or that necessity which knows no law, make them over us to us, or how "Magna et invicta Britannia" could accept without compensation the property of the military monks, whose Order, bereft of wealth and influence, still exists and claims with the acquiescence of at least one court to rank among the sovereign Powers of Christendom. The knights are, however, still the greatest personalities in Malta. We come upon them, their eight-pointed cross and their works at every step. Their ghosts still walk the highways. The names of the Grand Masters are immortalized in the cities they founded and in the forts they reared. Their portraits in the rude art of the Berlin lithographer hang on even the walls of the hotels. Their ecclesiastical side is in evidence by the churches which they reared, by the hagiological names which they gave to many of the streets, by the saintly figures with which, in spite of three-fourths of a century of Protestant rulers, still stand at the corners, and by the necessity which we have only recently found to come to an understanding with the Pope as to the limits of the canon law in this most faithful portion of his spiritual dominions.