As might have been expected from the fact of Dante's English popularity paralleling the Oxford Movement, both the great English Cardinals who were such prominent agents in that movement, looked upon him as a favorite author. Both of them have given him precious tributes. Newman's lofty compliment was the flattery of imitation when he wrote the Dream of Gerontius, that poem for poets which has told the men of our generation more about the immediate hereafter than anything written in these latter centuries. No poet of the intervening period, or of any other time, has so satisfactorily presented the after world as these writers so distant in time, so different in environment,--the one an Italian of the Thirteenth, the other an Englishman of the Nineteenth Century. Cardinal Manning's tribute was much more formal though not less glorious. It occurs in the introduction to Father Bowden's English edition of the German critic Hettinger's appreciation of Dante, and deserves a place here because it shows how much a representative modern churchman thinks of the great Florentine poet. "There are three works which always seem to me to form a triad of Dogma, of Poetry, and of Devotion,--The Summa of St. Thomas, The Divina Commedia, and the Paradisus Animae (a manual of devotional exercises by Horstius). All three contain the same outline of Faith. St. Thomas traces it on the intellect, Dante upon the imagination, and the Paradisus Animae upon the heart. The poem unites the book of Dogma and the book of Devotion, clothed in conceptions of intensity and of beauty which have never been surpassed nor equalled. No uninspired hand has ever written thoughts so high in words, so resplendent as the last stanza of the Divina Commedia. It was said of St. Thomas, _'Post Summan Thomae nihil restat nisi lumen gloriae_'--After the Summa of Thomas nothing is left except the light of glory. It may be said of Dante, _'Post Dantis Paradisum nihil restat nisi visio Dei_,'--After Dante's Paradise nothing is left except the vision of God."