THROUGH LIBRARY WINDOWS 245 



Tabernacle which God pitches in the heavens 

 for the sun and the splendors of His own mar- 

 vellously pavilioned abode. He sublimates the 

 very dust, makes the stone tell of the great 

 mountain, shows us how the sky with almost 

 human passion and spiritual tenderness and di- 

 vine humility keeps telling the Creator's glory. 

 He had no patience with the scientists who 

 could not see and feel and know God, as He 

 speaks and acts through Nature. He disliked 

 Tyndall and loved Linnaeus. As a child three 

 years old, standing for his portrait, he was 

 asked what he would like for a background, 

 and answered, "blue hills." Surely he was 

 born in tune with Nature. We wonder not 

 that he was the greatest writer on Art in the 

 Victorian age and the founder of art criticism. 

 He opened the world of art more than any one 

 before him. He taught the whole world to 

 read Nature and art in a common alphabet as 

 Truth and Beauty. 



The poetry of to-day is not written because 

 it must be, but because it can be. It is certain- 

 ly pure and wholesome in tone, refinement, 

 grace and charm, indeed possessing all the 

 marks of careful culture based in many cases on 

 a sympathetic acquaintance with literature. It 

 is the work of art and nothing but art, with no 



