The artistic event of 1874 was a reversal of the puzzling judgment of 1858 to the effect that the worldly painters excelled the devout ones. It came about through his copying one of Giotto’s frescoes on the roof of the Lower Church at Assisi. He was allowed to erect a platform in that dark church over the High Altar, that he might see the picture. There he discovered that Giotto was only beaten by Tintoret in mere science, technique, laws of perspective, composition and light and shade, and that religion had solemnized and developed every faculty of Giotto’s heart and hand. The Franciscan monastery at Assisi is one of the most sacred places on earth anyhow, but 1874 saw one more gift of light there vouchsafed, and a haunting problem solved. Art was to Ruskin a visible manifestation of life’s full faculties, in a department he specially understood; and religion, which is the source of strength and the support of character, he thought should be judged by its output. Now we turn to the second event. His hopes of the reality of a Spirit world received unexpected and potent confirmation from the fact that in December, 1875, he had, at the house of Lord Mount Temple, at Broadlands, Romsey, some psychic experience so definite that he was convinced that he had true communication with her whom he had lately lost, the “Rosie” of _Præterita_, No. XXVII.[20] It was a confirmation to his faith. He became an Honorary Member of the Society for Psychical Research the year after its formation in 1882, joining in that well-grounded hope that a true science of human Personality might be built up by its patient experimental methods. To Lady Mount Temple, _née_ Tollemache, the Egeria of the winter of 1840 in Rome, we owe much for the help she was to Ruskin all through life; and much also that from her came the stimulus to Frederick W. H. Myers and Edmund Gurney to begin the Society for Psychical Research. Two of Ruskin’s stories of Death wraiths may be found in _Fors_,[21] also a dream in Letter LXV. He never took to ordinary spiritualism; it is indeed from an attack upon it that he turns to a note describing the happiness of his own experience. “I leave this passage as it was written; though as it passes through the press, it is ordered by Atropos that I should hear a piece of evidence on this matter no less clear as to the present ministry of such powers as that which led Peter out of prison, than all the former, or nearly all the former, evidence examined by me was of the presence of the legion which ruled among the tombs of Gennesaret.”[22] He allows the contradiction to stand; indeed, in this puzzling and partially known subject, a consistent position is beyond the knowledge of most. He returns to the attack on Spiritualism, however, in his 1883 note to the second volume of _Modern Painters_, p. 244.