To begin it, we take up those details of position and relation which are generally relegated to symbolism or unconscious apprehension, and bring these waste products of thought into the central position of the laboratory of the mind. We turn all our attention on the most simple and obvious details of our every-day experience, and thence we build up a conception of the fundamental facts of position and arrangement in a higher world. We next study more complicated higher shapes, and get our space perception drilled and disciplined. Then we proceed to put a content into our framework. The means of doing this are twofold--observation and inspiration. As to observation, it is hardly possible to describe the feelings of that investigator who shall distinctly trace in the physical world, and experimentally demonstrate the existence of the higher-space facts which are so curiously hidden from us. He will lay the first stone for the observation and knowledge of the higher beings to whom we are related. As to the other means, it is obvious, surely, that if there has ever been inspiration, there is inspiration now. Inspiration is not a unique phenomenon. It has existed in absolutely marvellous degree in some of the teachers of the ancient world; but that, whatever it was, which they possessed, must be present now, and, if we could isolate it, be a demonstrable fact. And I would propose to define inspiration as the faculty, which, to take a particular instance, does the following:-- If a square penetrates a line cornerwise, it marks out on the line a segment bounded by two points--that is, we suppose a line drawn on a piece of paper, and a square lying on the paper to be pushed so that its corner passes over the line. Then, supposing the paper and the line to be in the same plane, the line is interrupted by the square; and, of the square, all that is observable in the line, is a segment bounded by two points. Next, suppose a cube to be pushed cornerwise through a plane, and let the plane make a section of the cube. The section will be a plane figure, and it will be a triangle. Now, first, the section of a square by a line is a segment bounded by two points; second, the section of a cube by a plane is a triangle bounded by three lines. Hence, we infer that the section of a figure in four dimensions analogous to a cube, by three-dimensional space, will be a tetrahedron--a figure bounded by four planes. This is found to be true; with a little familiarity with four-dimensional movements this is seen to be obvious. But I would define inspiration as the faculty by which without actual experience this conclusion is formed. How it is we come to this conclusion I am perfectly unable to say. Somehow, looking at mere formal considerations, there comes into the mind a conclusion about something beyond the range of actual experience.