from the Flowery Valley by the eagle, Lucia, a symbol of the illuminating grace of God:

“La’ ve venimmo, alio scaglion primaio,
Bianco marmo, era si pulito e terso,
Ch’ io mi specchiai in esso quale io paio.
Era il secondo, tinto più che perso,
D’ una petrina ruvida ed arsiccia,
Crepata per lo lungo e per traverso.
Lo terzo, che di sopra s’ammassiccia,
Porfido mi parea si fiammegiante,
Come sangue che fuor di vena spiccia.”

and which Mr. William Warren Vernon in his admirable edition translated as follows:—

“There, where we came unto the first stair, it was of white marble, so polished and smooth, that in it I saw myself reflected even as I am.  The second was of a darker hue than perse, and of a rugged and calcined stone, full of cracks in all its length and breadth.  The third, which is piled on above, seemed to me to be of porphyry, as flaming red as blood that gushes from a vein.”

This passage has been variously interpreted, nearly all the early commentators holding that by the three steps, by which the gate of Purgatory is approached, Dante intended to symbolize the three acts of penitence, as they were understood in the days of scholastic theology, namely, (1) contrition of the heart, (2) confession of the mouth, and (3) satisfaction by works, whilst in days nearer to our own Dean Plumptre has observed that (1) the white marble in which Dante saw himself mirrored indicates purity of conscience and that self-knowledge without which contrition is incomplete; (2) the dark, gloomy hue, the broken and rough surface of the second stair symbolizes the state of the heart as laid bare in confession in all its black unrighteousness; (3) the crimson hue of the porphyry is fit emblem of the charity or love which is the spring of all works of satisfaction.  But whatever may be the exact meaning of Dante’s symbolism, the general idea is plain, and the symbolism of these three steps, white, black, and red, seems peculiarly appropriate in a chapel to be used so largely for the administration of the Holy Communion, at which the Invitation and Confession alike will be made in words, with which the symbolism of the steps is so fully in harmony.

With regard to the mosaic pavement itself, we cannot do better than append the short descriptive notes that have been very kindly furnished by Mr. C. White, the courteous Works Manager of Messrs. Arthur Lee & Bros.:—

“Portion directly under Altar is composed of Vedrasse panels with Rosso Antico crosses inlaid in same.  The panel coming directly in front of this is composed of star-shaped pieces of St. Just with cosmatesque inlays round same composed of various fancy coloured marbles and borders in St. Just.  Foot-pace and riser are in Rosso Antico.

“Portion on the left of the Altar.—The front panel is in Skyros, the back one in Vedrasse, the centre panel in St. Katharine’s.  Circular panels—top left-hand corner, Brèche Sanguine; bottom left-hand corner, Irish green; top right-hand corner, landscape; bottom right-hand corner, Devonshire.  The matrix and outside borders are of St. Just, whilst the inlaid portions are of various fancy coloured marbles.

“Portion on right-hand Side of the Altar.—This is similar to the one last described, but the front panel is in Pavonazzo, back panel in Skyros, and centre panel in tapestry Yava onyx.  Top right-hand circle, Old Convent Sienna; bottom right-hand circle, Brèche Sanguine; top left-hand circle, Irish green; and bottom left-hand circle, Landscape.

“Main Inlaid Panel.—The matrix is of St. Just, and the circular panels, reading from left to right, are as follows:—Green Yava onyx, Corallo, Mexican agate, Giallo Antico, Verde Antico, Rosso Antico.  The inlaid portions in various choice designs are