in that of Wigger, and soon after departed this life, rich in good works, and secure of a heavenly reward. The sorrow of Bennon was too great for words. He wept without ceasing, and pined away in his grief, till at last Wigger had to mingle his consolations with timely reprehension. His words in some degree restored his pupil to peace, but so deep an impression had been made on his heart of the nothingness of a world which sooner or later deprives us of all we most love, that he resolved to have nothing more to do with it, and to devote his life to God in the monastery. He never forgot his good father Bernward, and the first composition which he wrote after the death of the bishop was a poetical epitaph which his biographer inserts, and which is not a favourable specimen of his genius. Jerome probably felt that it was open to criticism, which he judiciously forestalls. “The verses,” he says, “show that if not ignorant of the metrical art, he did not affect a flowery style, but was content with plain and simple language. But if some, having delicate ears, should be disposed to turn up their noses at the line,” “Quem Deus Emmanuel diligat, et Michael.” “I would remind them of the singular devotion which the Blessed Bernward bore to St. Michael whence it will appear that this line did not escape our Bennon unwarily. They who are moved by the Spirit of God care not much for the outside shell of words, and prefer a good life to a good style of writing.” He adds, “the scholastic discipline of Hildesheim was at this time extremely severe. It was reckoned a great fault not merely to be absent from choir or refectory, but even to come late. The scholars each day had to bring their Scripture to the dean, and rehearse their Psalms. And the rod was freely used.” Bennon being kept under this strict discipline, passed safely through the slippery time of youth, and in his after-life proved himself not unworthy the extraordinary care bestowed on his education.