Yonder to the east is the Golden Gate, above the steep Valley of Jehoshaphat. It is closed with great stones; because the Moslem tradition says that some Friday a Christian conqueror will enter Jerusalem by that gate. Not far away we see the column in the wall from which the Mohammedans believe a slender rope, or perhaps a naked sword, will be stretched, in the judgment day, to the Mount of Olives opposite. This, according to them, will be the bridge over which all human souls must walk, while Christ sits at one end, Mohammed at the other, watching and judging. The righteous, upheld by angels, will pass safely; the wicked, heavy with unbalanced sins, will fall. Dominating all these wide-spread relics and shrines, in the centre of the inclosure, on a raised platform approached through delicate arcades, stands the great Dome of the Rock, built by Abd-el-Melik in 688 A.D., on the site of the Jewish Temple. The exterior of the vast octagon, with its lower half cased in marble and its upper half incrusted with Persian tiles of blue and green, its broad, round lantern and swelling black dome surmounted by a glittering crescent, is bathed in full sunlight; serene, proud, eloquent of a certain splendid simplicity. Within, the light filters dimly through windows of stained glass and falls on marble columns, bronzed beams, mosaic walls, screens of wrought iron and carved wood. We walk as if through an interlaced forest and undergrowth of rich entangled colours. It all seems visionary, unreal, fantastic, until we climb the bench by the end of the inner screen and look upon the Rock over which the Dome is built.