and every movement they made was a leap in the dark.  First, on the one side, we have Tancred trying to take the whole fortified city by climbing up a single slender ladder, as if a man tried to lasso the peak of a mountain.  Then we have the flinging from the turrets of a strange and frightful fiery rain, as if water itself had caught fire.  It was afterwards known as the Greek Fire and was probably petroleum; but to those who had never seen (or felt) it before it may well have seemed the flaming oil of witchcraft.  Then Godfrey and the wiser of the warriors set about to build wooden siege-towers and found they had next to no wood to build them.  There was scarcely anything in that rocky waste but the dwarf trees of olive; a poetic fantasy woven about that war in after ages described them as hindered even in their wood-cutting by the demons of that weird place.  And indeed the fancy had an essential truth, for the very nature of the land fought against them; and each of those dwarf trees, hard and hollow and twisted, may well have seemed like a grinning goblin.  It is said that they found timbers by accident in a cavern; they tore down the beams from ruined houses; at last they got into touch with some craftsmen from Genoa who went to work more successfully; skinning the cattle, who had died in heaps, and covering the timbers.  They built three high towers on rollers, and men and beasts dragged them heavily against the high towers of the city.  The catapults of the city answered them, the cataracts of devouring fire came down; the wooden towers swayed and tottered, and two of them suddenly stuck motionless and useless.  And as the darkness fell a great flare must have told them that the third and last was in flames.

All that night Godfrey was toiling to retrieve the disaster.  He took down the whole tower from where it stood and raised it again on the high ground to the north of the city which is now marked by the pine tree that grows outside Herod’s gate.  And all the time he toiled, it was said, sinister sorcerers sat upon the battlements, working unknown marvels for the undoing of the labour of man.  If the great knight had a touch of such symbolism on his own side, he might have seen in his own strife with the solid timber something of the craft that had surrounded the birth of his creed, and the sacred trade of the carpenter.  And indeed the very pattern of all carpentry is cruciform, and there is something more than an accident in the allegory.  The transverse position of the timber does indeed involve many of those mathematical that are analogous to moral truths and almost every structural shape has the shadow of the mystic rood, as the three dimensions have a shadow of the Trinity.  Here is the true mystery of equality; since the longer beam might lengthen itself to infinity, and never be nearer to the symbolic shape without the help of the shorter.  Here is that war and wedding between two contrary forces, resisting and