It is said that Charles intended Emaus solely for the benefit of those who still held to the Slavonic liturgy, from the very outset. But I find that Charles did not approach the Pope on this subject and get his sanction for the Archbishop of Prague to grant the Benedictine monks of Emaus licence to perform the Slavonic ritual, until the papacy of Clement VI. I gather that he had waited until he could find an amenable pontiff; what is more, Clement VI as anti-Pope, probably did not cut much ice even had he been addicted to that practice. It was undoubtedly due to the fact that the Slavonic liturgy was still in force that Emaus escaped destruction at the hands of the Hussites, as the monks were Utraquists and remained of that persuasion until the last Slavonic abbot, Adam Benedict Bawarowsky, with two surviving monks, was turned out to make room for Spanish Benedictines from Montserrat under their abbot, Benedict di Pennabosa y Mondragon. These Spaniards were inducted by Emperor Ferdinand III, King of Bohemia, himself. Of those early, ardent days in the annals of Emaus there is but little left to recall Charles and his works. The library of the Benedictines was destroyed by fire; only two works were saved, the "Emaus-Reimser Evangelium" and the "Registrum Literarum monasterii Slavorum." The frescoes which adorn the cloisters seem as fresh to-day as when the Italian masters, brought to Prague by Charles, stood aside to let the monarch see the finished work, and that was several years before the consecration festival. The interior of the church is beautiful, its slender Gothic columns vanishing into the hallowed shadows of the roof. The "plain song" of the remaining monks still rings with the fervour of simple, steadfast faith. The main building of the monastery is now an academy of music where the rising generation is being taught to appreciate the latest eccentricities of modern music.