The legend, which afterward inspired Veronese and Correggio, had a counterpart in that of St. Catherine of Sienna. To her also the Christ gave a ring, yet one which, Della Fonte, her biographer, declared, was visible only to herself. The legend had also a pendant in the story of St. Theresa, a Spanish mystic, who in her trances discovered that the punishment of the damned is an inability to love. In the _Relacion de su vida_ the saint expressed herself as follows: "It seemed to me as though I could see my soul, clearly, like a mirror, and that in the centre of it the Lord came. It seemed to me that in every part of my soul I saw him as I saw him in the mirror and that mirror, I cannot say how, was wholly absorbed by the Lord, indescribably, in a sort of amorous confusion." The mirror was the imagination, the usual reflector of the beatific. It was that perhaps to which Paul referred when he said that we see through a glass darkly. But it was certainly that which enabled Gerson to catalogue the various degrees of ravishment of which the highest, ecstasy, culminates in union with Christ, where the soul attaining perfection is freed. Gerson came later but theories similar to his, which neoplatonism had advanced, were common. In that day or more exactly in that night, the silver petals of the lily of purity were plucked so continuously by so many hands, so many were the eyes strained on the mirror, so frequent were the brides of Christ, that the aberration became as disquieting as asceticism. Then through fear that woman might lose herself in dreams of spiritual love and evaporate completely, an effort was attempted which succeeded presently in deflecting her aspirations to the Virgin who, hitherto, had remained strictly within the limits originally traced. Commiserate to the erring she was Regina angelorum, the angel queen. In the twelfth century suddenly she mounted. From queen she became sovereign. Ceremonies, churches, cathedrals, were consecrated uniquely to her. In pomp and importance her worship exceeded that of God. When Satan had the sinner in his grasp, it was she who in the prodigalities of her divine compassion rescued and redeemed him.[34] In the art of the period, such as it was, the worship was reflected. The thin hands of saints, the poignant eyes of sinners, were raised to her equally. The fainting figures that were painted in the ex-voto of the triptiques seemed ill with love. The forms of women, lost beneath the draperies, disclosed, if anything, emaciation. The expression of the face alone indicated what they represented and that always was adoration. They too were swooning at the Virgin's feet. Previously Paul had been studied. It was seen that a thorn had been given him, a messenger of Satan, from which, three times he had prayed release. But the Lord said to him: "My grace is sufficient to thee, for my strength is made perfect in weakness." "Wherefore," said Paul, "most gladly will I glory in my infirmities."[35]