My father was thus able to realize one of the dearest dreams of his life, namely, to see with his mortal eyes the Carthage which he knew so intimately in connection with his lifelong study of Cyprian. His book on Cyprian which had occupied his leisure for some thirty years was now approaching completion, and long had he yearned to behold the ruined site where Cyprian had worked as bishop, to wander with his own feet over the shores and hills, which, all these years, had been so familiar to him; and that visit to Carthage had for him the sacredness of some pilgrimage for which his heart hungered. His own enthusiasm was so keen that I feel sure that he had no idea that his Mecca could be less to us than to him, and I have the vision of him kneeling on the site of some early Christian church, with his face all aglow with the long-deferred consummation. Just as his appreciation of a picture was mainly due to the nature of its subject, just as his pleasure in music was derived from the words which were sung to it, so now, as his diary records, he saw enchanting loveliness in that bare and featureless hill where Carthage once stood, for Cyprian’s sake, and wondered at the want of perception which caused other travellers to find nothing admirable in that bleak place. For once the classical associations of Carthage, the Punic Wars, the subsequent Roman occupation had no lure for him. Cyprian, Bishop of Carthage, was the full moon among the lesser lights of the firmament. At Tunis I left the rest of them, going on my own special pilgrimage, and via Malta and Brindisi I came to the city already known to me by map and picture, and hallowed by some kind of predestined love. And just as my father was enchanted with that ugly little hill of Carthage because Cyprian had dwelt there, how was I not transported when above mean streets and miry ways I saw the sparkle of that marble crown of temples on the Acropolis? For indeed, from the time that Beesly had read us his _Trojan Queen’s Revenge_, some idea, some day-dream of Athens had been distilled, drop by drop, into my blood. Whatever was lovely, whatever must be estimated and esteemed I always laid alongside some Greek standard. Not alone were things directly Greek, like the chorus of the _Œdipus in Colonos_, the chorus in Swinburne’s _Atalanta_, the teachings of Middleton, the holy dead in the Street of Tombs tested by the Hellenic touchstone, but whatever moved my heart, the vision of Mary Anderson in the _Winter’s Tale_, the joy of athletics, the austere crests of mountains, the forest of Savernake, the Passion-music of Bach, had been instinctively subjected to the same criterion.