Barry Pain endows a bulldog with the power to foretell the future, to reveal disaster and oppose it. Zero, in the story by that name, is a common bulldog greatly valued because he has a supernatural knowledge of any evil that threatens those he loves, and by his canine sagacity he forestalls fate. In the end, in protecting his master's little child, he is bitten by a mad dog, whose coming he has supernaturally foreseen, and he commits suicide as the only way out of the difficulty. Arthur Machen, in _The Bowmen and Others_, tells varied stories of supernatural vision associated with the war. _The Door in the Wall_, by H. G. Wells, depicts a man who in his dreamy childhood wanders into a secret garden where he is shown the book of his past and future, but who afterwards is unable to find the door by which he enters, though he seeks it often. Later in life, at several times when he is in a special haste to reach some place for an important appointment, he sees the door, but does not enter. Finally he goes in to his death. This is an instance of the suggestive supernaturalism associated with dreams and visions. The use of mirrors in supernatural vision is significant and appears in a number of ways in modern fiction. Scott's _My Aunt Margaret's Mirror_ is an early instance, where the magician shows the seeker a glass wherein she sees what is taking place in another country, sees her husband on his way to the altar with another woman, sees a stranger stop the marriage, and witnesses the fatal duel. Hawthorne has used mirrors extensively as symbolic of an inner vision, of a look into the realities of the soul. For instance, when poor Feathertop, the make-believe man, the animated scarecrow, looks into the mirror he sees not the brave figure the world beholds in him, but the thing of sticks and straw, the sham that he is, as the minister shrinks from the mirrored reflection of the black veil, symbol of mystery that he wears. Hawthorne elsewhere speaks of Echo as the voice of the reflection in a mirror, and says that our reflections are ghosts of ourselves. Mr. Titbottom, in George William Curtis's _Prue and I_, who has the power of seeing into the souls of human beings by means of his magic spectacles and catching symbolic glimpses of what they are instead of what they appear to be, beholds himself in a mirror and shrinks back aghast from the revelation of his own nature. Barry Pain's story, referred to in another connection, shows a mirror wherein a supernatural visitant reveals to a young man the supreme moments of life, his own and those of others, pictures of the highest moments of ecstasy or despair, of fulfillment of dear dreams.