represented by the erection of marble temples. The "fount in the hills fold" and the erect temple (Templum aedificans) also serve as images of sexual love. Pound then invokes Amphion, the mythical founder of music, before recalling the San Ku/St Hilaire/Jacques de Molay/Eriugena/Sagetrieb cluster from Canto LXXXVII. Then the goddess appears in a number of guises: the moon, Mother Earth (in the Randolph reference), the Sibyl (last encountered in the context of the American Revolution in Canto LXIV), Isis and Kuanon. In a litany, she is thanked for raising Pound up (m'elevasti, a reference to Dante's praise of his beloved Beatrice in the Paradiso) out of hell (Erebus). The canto closes with a number of instances of sexual love between gods and humans set in a paradisiacal vision of the natural world. The invocation of the goddess and the vision of paradise are sandwiched between two citations of Richard of St. Victor's statement ubi amor, ibi oculuc est ("where love is, there the eye is"), binding together the concepts of love, light and vision in a single image. Canto XCI continues the paradisiacal theme, opening with a snatch of the "clear song" of Provençe. The central images are the invented figure Ra-Set, a composite sun/moon deity whose boat floats on a river of crystal. The crystal image, which is to remain important until the end of The Cantos, is a composite of frozen light, the emphasis on inorganic form found in the writings of the mystic Heydon, the air in Dante's Paradiso, and the mirror of crystal in the Chou King amongst other sources. Apollonius of Tyana appears, as do Helen of Tyre, partner of Simon Magus and Justinian and his consort Theodora. These couples can be seen as variants on Ra-Set. Much of the rest of the canto consists of references to mystic doctrines of light, vision and intellection. There is an extract from a hymn to Diana from Layamon's 12th-century poem Brut. An italicised section, claiming that the 1913 foundation of the Federal Reserve Bank, which took power over interest rates away from Congress, and the teaching of Karl Marx and Sigmund Freud in American universities ("beaneries") are examples of what Julien Benda termed La trahison des clercs, contains anti-Semitic language. Towards the close of the canto, the reader is returned to the world of Odysseus; a line from Book Five of the Odyssey tells of the winds