"When Solomon pronounced the Name of God, all the spirits, good and bad, assembled to do His will and build His palace. And when I, Abt Vogler, touched the keys, I called the Spirits of Sound to me, and they have built my palace of music; and to inhabit it all the Great Dead came back till in the vision I made a perfect music. Nay, for a moment, I touched in it the infinite perfection; but now it is gone; I cannot bring it back. Had I painted it, had I written it, I might have explained it. But in music out of the sounds something emerges which is above the sounds, and that ineffable thing I touched and lost. I took the well-known sounds of earth, and out of them came a fourth sound, nay not a sound--but a star. This was a flash of God's will which opened the Eternal to me for a moment; and I shall find it again in the eternal life. Therefore, from the achievement of earth and the failure of it, I turn to God, and in Him I see that every image, thought, impulse, and dream of knowledge or beauty--which, coming whence we know not, flit before us in human life, breathe for a moment, and then depart; which, like my music, build a sudden palace in imagination; which abide for an instant and dissolve, but which memory and hope retain as a ground of aspiration--are not lost to us though they seem to die in their immediate passage. Their music has its home in the Will of God and we shall find them completed there." 3. _Solomon._ In Jewish legend it is said that Solomon had power over angels and demons through a seal on which "the most great name of God was engraved." 13. _And one would bury his brow._ This description of the foundations of the palace is not unlike Milton's account of the work of the fallen angels in building the palace in hell. (_Paradise Lost_, I, 170.) That "fabric huge" was as magical in its construction as the palace of Abt Vogler, for, though it was not built by music, it "Rose like an exhalation with the sound Of Dulcet Symphonies and voices sweet." 16. _Nether Springs._ Remotest origins. 23. _Rome's dome._ The illumination of St. Peter's was formerly one of the customary spectacles on the evening of Easter Sunday. "At Ave-Maria we drove to Piazza of St. Peter's. The lighting of the lanternoni, or large paper lanterns, each of which looks like a globe of ethereal fire, had been going on for an hour, and by the time we arrived there was nearly completed.... The whole of this immense church--its columns, capitals, cornices, and pediments--the beautiful swell of the lofty dome ... all were designed in lines of fire, and the vast sweep of the circling colonnades ... was resplendent with the same beautiful light." (C. A. Eaton, _Rome in the Nineteenth Century_, II, 208.) 23. _Space to spire._ From the wide opening between the colonnades to the cross on the top of the lantern surmounting the dome.