constantly chased through it by hounds, with much destruction of leaves and twigs. On issuing from the wood (Canto xiv.), they find themselves at the edge of a great circular plain of sand, upon which flakes of fire are ceaselessly dropping. Skirting the wood for some distance they reach the bank of the stream of blood which, having circled all round the outer margin of the wood, now comes flowing through it, and crosses the sandy plain in a channel carefully built of shaped stone. Virgil takes occasion to explain the origin of the rivers of Hell. Thick fumes rise from it which quench the falling flames, so that along its bank, and there only, can a way be found. As they proceed they find sinners lying prone or running under the fiery shower. These are they who had done violence to God, either directly by open blasphemy, or indirectly by violating the divinely appointed natural order whereby both the race of mankind and its possessions should increase and multiply. Many famous Florentines are among these sinners (Cantos xv. and xvi.); and Dante talks long with the famous statesman and philosopher, Brunetto Latini, who had been his early friend and adviser, and with sundry great captains and men of renown. After this they reach the point where the river falls with a mighty roar down to the next level. There is no natural means of descent here available; and Dante hands to Virgil a cord with which he is girt. The meaning of this cord is very obscure. He says: “I once thought to capture the leopard with it;” and if the leopard denotes the factions of Florence, the cord may perhaps symbolise justice or equity. When Virgil has thrown it down they wait a short time, and presently a monster appears whose name we find to be Geryon, and who symbolises fraud or treachery. It is perhaps not unnatural that when the power to enforce justice has been cast away, treachery should raise its head. This monster draws near the brink (Canto xvii.), but before they mount on him, Virgil allows Dante to walk a few paces to the right, in order that he may take note of the last class of “violent” sinners, namely, the usurers. These hold an intermediate position between the violent and the treacherous; just as the heretics did between the incontinent and the violent. Here again are many Florentines. Like the other misusers of money in Canto vii. their features are unrecognisable, and they are only to be known by the arms embroidered on their money bags. After hearing a few words from one of them, Dante returns to Virgil, and both take their place on the croup of Geryon, who bears them downwards to the eighth circle. This (Canto xviii.), from its configuration, is known as Malebolge, or Evilpits. It is divided into ten concentric rings, or circular trenches, separated by a tract of rocky ground. From various indications we gather that each trench is half a mile across, and the intervening ground a mile and a quarter.