And here I must ask your attention to the idea, and, more than idea,--the fact, involved in that infinitely misused term, 'Providentia,' when applied to the Divine power. In its truest sense and scholarly use, it is a human virtue, [Greek: Prometheia]; the personal type of it is in Prometheus, and all the first power of [Greek: techne], is from him, as compared to the weakness of days when men without foresight "[Greek: ephyron eike panta]." But, so far as we use the word 'Providence' as an attribute of the Maker and Giver of all things, it does not mean that in a shipwreck He takes care of the passengers who are to be saved, and takes none of those who are to be drowned; but it _does_ mean that every race of creatures is born into the world under circumstances of approximate adaptation to its necessities; and, beyond all others, the ingenious and observant race of man is surrounded with elements naturally good for his food, pleasant to his sight, and suitable for the subjects of his ingenuity;--the stone, metal, and clay of the earth he walks upon lending themselves at once to his hand, for all manner of workmanship. 150. Thus, his truest respect for the law of the entire creation is shown by his making the most of what he can get most easily; and there is no virtue of art, nor application of common sense, more sacredly necessary than this respect to the beauty of natural substance, and the ease of local use; neither are there any other precepts of construction so vital as these--that you show all the strength of your material, tempt none of its weaknesses, and do with it only what can be simply and permanently done. 151. Thus, all good building will be with rocks, or pebbles, or burnt clay, but with no artificial compound; all good painting with common oils and pigments on common canvas, paper, plaster, or wood,--admitting sometimes, for precious work, precious things, but all applied in a simple and visible way. The highest imitative art should not, indeed, at first sight, call attention to the means of it; but even that, at length, should do so distinctly, and provoke the observer to take pleasure in seeing how completely the workman is master of the particular material he has used, and how beautiful and desirable a substance it was, for work of that kind. In oil painting, its unctuous quality is to be delighted in; in fresco, its chalky quality; in glass, its transparency; in wood, its grain; in marble, its softness; in porphyry, its hardness; in iron, its toughness. In a flint country, one should feel the delightfulness of having flints to pick up, and fasten together into rugged walls. In a marble country, one should be always more and more astonished at the exquisite color and structure of marble; in a slate country, one should feel as if every rock cleft itself only for the sake of being built with conveniently.