It is interesting to notice how sharp and clear is the trepanning work in the older of these designs, and how close together the points have been drilled. It would appear as if, contrary to the method employed in the more modern work, no graving tool had been used, nor any stucco to fill up the holes and outlines. * * * * * And now we enter the Church. 3. THE NAVE. The first thing that meets the eye is an inscription: “CASTISSIMUM VIRGINIS TEMPLUM CASTE MEMENTO INGREDI.” It is unknown by whom, or when, this inscription was laid down, but it is possible that it was introduced at the same time as the design which follows it. [Illustration: ALINARI PHOTO.] [DESIGNED BY GIOVANNI DI MAESTRO STEFANO (?) III. HERMES TRISMEGISTUS (No. 33)] Beyond this appears the commanding figure of a man in a high crowned head-dress, apparently an Eastern Sage, holding out with his right hand, to two other men, a book inscribed SUSCIPITE O LICTERAS ET LEGES EGYPTII; while with his left, he points to a quotation on a slab supported by two winged sphinxes. The principal figure represents the semi-mythical Hermes Mercurius Trismegistus, who, as we read below, was “Contemporaneus Moysi.” The two men, one old and turbaned, and the other veiled, may perhaps typify the learned men of the East and West. (Ill. III.) The introduction of this mysterious personage, whose very existence is extremely doubtful, is most interesting to the student of Renaissance philosophical and theological ideas. Since to his fabled authorship are attributed a vast number of works dealing with ancient wisdom and religious belief, as well as many treatises on ecclesiastical ceremonial, the placing of him on the threshold of this magnificent Temple is not without appropriate suggestion. From the principal work attributed to him “the Poemander”,[23] is drawn the quotation inscribed on the slab beside him here; and the enthusiastic attitudes of the two Seekers after Knowledge before him are very forcibly expressed. This admirable design was placed here in 1488, under the Rectorship of Alberto Aringhieri, mentioned in the last chapter. He, being a Knight of St. John of Jerusalem and of Rhodes, must have been familiar with the mystical tastes and theories of those who endeavoured to bring the learning, lore, and art of Pagan ideals into line with Christian Dogma and Faith. Hence the choice under his direction of this subject, and, as we shall presently see, of the ten Sibyls also. It is not definitely known who designed this group; but it is generally supposed, with considerable show of reason, to have been Giovanni di Maestro Stefano:[24] and it appears to have been the last of the series commissioned by Aringhieri, as Rettore, since his occupation of that post ended in 1498.[25] He seems, though, seven years later, to have commissioned Pinturicchio’s “Allegory of Fortune.”