The use of the labyrinth in mediaeval times, has, however, greater interest for us in this paper, especially from the fact that such was distinctly ecclesiastical. Several continental churches have labyrinths, either cut in stone or inlaid in coloured marbles, figured upon their walls or elsewhere. At Lucca Cathedral is an example incised upon one of the piers of the porch; and others may be seen at Pavia, Aix in Provence, and at Poitiers. These are all small, the diameter of the Lucca labyrinth being 1 foot 71/2 inches, which is the dimension also of one in an ancient pavement in the church of S. Maria in Aquiro, in Rome. That the suggestion for the construction of these arose from the mythological legends concerning those of pagan days is proved by the fact that in several of them the figures of Theseus and the Minataur were placed in the centre. Probably from the first, the Church, in her use of the figure, spiritualized the meaning of the heathen story, as we know was her wont in other cases; and a labyrinth formed in mosaic on the floor of an ancient basilica at Orleansville, Algeria, shows that presently the mythological symbols gave place entirely to obviously Christian ones. In this last-named instance, the centre is occupied by the words _Sancta Ecclesia_. About the twelfth century these curious figures became very popular, and a considerable number dating from that period still exist. They have for the most part been constructed in parti-coloured marbles on some portion of the floor of the church. One was laid down in 1189 at S. Maria in Trastevere, in Rome; S. Vitale, Ravenna, contains another; and the parish church of S. Quentin has a third. Others formerly existed at Amiens Cathedral (made in 1288 and destroyed in 1825), at Rheims (made about 1240 and destroyed in 1779), and at Arras (destroyed at the Revolution). These are much larger than the examples before noticed; the two Italian examples are each about 11 feet across, but the French ones greatly exceed this. Those of S. Quentin and Arras were each over 34 feet in diameter, and the others were somewhat larger; Amiens possessed the largest, measuring 42 feet. France had another example of a similar kind at Chartres. The Christian meaning which was read into these complicated designs was more emphatically expressed in these twelfth-century instances. The centre is usually occupied by a cross, round which, in some cases, were arranged figures of bishops, angels, and others.