The second of these religious poets, Richard Crashaw, [Footnote: The first vowel is pronounced as in the noun _crash_.] whose life (1612-1649) was not quite so short as Herbert's, combined an ascetic devotion with a glowingly sensuous esthetic nature that seems rather Spanish than English. Born into an extreme Protestant family, but outraged by the wanton iconoclasm of the triumphant Puritans, and deprived by them of his fellowship, at Cambridge, he became a Catholic and died a canon in the church of the miracle-working Lady (Virgin Mary) of Loretto in Italy. His most characteristic poetry is marked by extravagant conceits and by ecstatic outbursts of emotion that have been called more ardent than anything else in English; though he sometimes writes also in a vein of calm and limpid beauty. He was a poetic disciple of Herbert, as he avowed by humbly entitling his volume 'Steps to the Temple.' The life of Henry Vaughan [Footnote: The second _a_ is not now sounded.] (1621-1695) stands in contrast to those of Herbert and Crashaw both by its length and by its quietness. Vaughan himself emphasized his Welsh race by designating himself 'The Silurist' (native of South Wales). After an incomplete university course at Jesus College (the Welsh college), Oxford, and some apparently idle years in London among Jonson's disciples, perhaps also after serving the king in the war, he settled down in his native mountains to the self-denying life of a country physician. His important poems were mostly published at this time, in 1650 and 1655, in the collection which he named 'Silex Scintillans' (The Flaming Flint), a title explained by the frontispiece, which represents a flinty heart glowing under the lightning stroke of God's call. Vaughan's chief traits are a very fine and calm philosophic-religious spirit and a carefully observant love of external Nature, in which he sees mystic revelations of God. In both respects he is closely akin to the later and greater Wordsworth, and his 'Retreat' has the same theme as Wordsworth's famous 'Ode on Intimations of Immortality,' the idea namely that children have a greater spiritual sensitiveness than older persons, because they have come to earth directly from a former life in Heaven. The contrast between the chief Anglican and Catholic religious poets of this period has been thus expressed by a discerning critic: 'Herrick's religious emotions are only as ripples on a shallow lake when compared to the crested waves of Crashaw, the storm-tides of Herbert, and the deep-sea stirrings of Vaughan.'