‘Can I fix Rome for you on this poor sheet of paper?’ Something like Petrarch's lament must precede any attempt to sum up Rome in words; only an Atlas could do justice to the vast weight of such a city. But there is at least one compensation: we are describing a city that we all know, or think we know. For Montaigne, it was the first city that entered his consciousness: ‘I have had knowledge of the affairs of Rome long time before I had knowledge of those of my own house. I knew the Capitol and its platform before I knew Louvre, the palace of our kings in Paris; the river Tiber before Seine’. And for him it remained the ultimate city: ‘And therefore can I not look so often into the situation of their streets and houses, and those wondrous-strange ruins, that may be said to reach down to the Antipodes, but so often must I amuse myself on them. Is it nature or by the error of fantasy, that the seeing of places we know to have been frequented or inhabited by men whose memory is esteemed or mentioned in stories doth in some sort move and stir us up as much or more than the hearing of their noble deeds or reading of their compositions?’ For Freud, the city provided the best analogy for the human consciousness itself, an overlayering of past and present events, all capable of being experienced simultaneously. He asks us, in a flight of fancy, to ‘suppose that Rome is not a human habitation but a psychical entity with a similarly long and copious past — an entity, that is to say, in which nothing that has once come into being will have passed away and all the earlier phases of development continue to exist alongside the latest one’.