These landscapes do not stir the imagination to the energies of sanctity but as to orgaic dancing and prophetic frenzy.’ I saw with some resentment new images where the old ones had often made that long gray, dim, empty, echoing passage become to my eyes a vestibule of Eternity. Almost every detail of the chapel, which we entered by a narrow Gothic door, whose threshold had been worn smooth by the secret worshippers of the penal times, was vivid in my memory; for it was in this chapel that I had first, and when but a boy, been moved by the mediævalism which is now, I think, the governing influence in my life. The only thing that seemed new was a square bronze box which stood upon the altar before the six unlighted candles and the ebony crucifix, and was like those made in ancient times of more precious substances to hold the sacred books. Aherne made me sit down on an oak bench, and having bowed very low before the crucifix, took the bronze box from the altar, and sat down beside me with the box upon his knees. ‘You will perhaps have forgotten,’ he said, ‘most of what you have read about Joachim of Flora, for he is little more than a name to even the well read. He was an abbot in Cortale in the twelfth century, and is best known for his prophecy, in a book called _Expositio in Apocalypsin_, that the Kingdom of the Father was passed, the Kingdom of the Son passing, the Kingdom of the Spirit yet to come. The Kingdom of the Spirit was to be a complete triumph of the Spirit, the _spiritualis intelligentia_ he called it, over the dead letter. He had many followers among the more extreme Franciscans, and these were accused of possessing a secret book of his called the _Liber Inducens in Evangelium Æternum_. Again and again groups of visionaries were accused of possessing this terrible book, in which the freedom of the Renaissance lay hidden, until at last Pope Alexander IV. had it found and cast into the flames. I have here the greatest treasure the world contains. I have a copy of that book; and see what great artists have made the robes in which it is wrapped. The greater portion of the book itself is illuminated in the Byzantine style, which so few care for to-day, but which moves me because these tall, emaciated angels and saints seem to have less relation to the world about us than to an abstract pattern of flowing lines, that suggest an imagination absorbed in the contemplation of Eternity. Even if you do not care for so formal an art, you cannot help seeing that work where there is so much gold, and of that purple colour which has gold dissolved in it, was valued at a great price in its day. But it was only at the Renaissance the labour was spent upon it which has made it the priceless thing it is. The wooden boards of the cover show by the astrological allegories painted upon them, as by the style of painting itself, some craftsman of the school of Francesco Cossi of Ferrara, but the gold clasps and hinges