He looked to the future rather than the past. He would make use, in his interpretation of the Bible, of all that literature, science, and art could contribute. Hence his writings had a wider influence than could be produced by the fascination of personal eloquence, on which Savonarola relied, but which Luther made only accessory. Again, the sermons of the Florentine reformer do not impress us as they did those to whom they were addressed. They are not logical, nor doctrinal, nor learned,--not rich in thought, like the sermons of those divines whom the Reformation produced. They are vehement denunciations of sin; are eloquent appeals to the heart, to religious fears and hopes. He would indeed create faith in the world, not by the dissertations of Paul, but by the agonies of the dying Christ. He does not instruct; he does not reason. He is dogmatic and practical. He is too earnest to be metaphysical, or even theological. He takes it for granted that his hearers know all the truths necessary for salvation. He enforces the truths with which they are familiar, not those to be developed by reason and learning. He appeals, he urges, he threatens; he even prophesies; he dwells on divine wrath and judgment. He is an Isaiah foretelling what will happen, rather than a Peter at the Day of Pentecost. Savonarola was transcendent in his oratorical gifts, the like of which has never before nor since been witnessed in Italy. He was a born orator; as vehement as Demosthenes, as passionate as Chrysostom, as electrical as Bernard. Nothing could withstand him; he was a torrent that bore everything before him. His voice was musical, his attitude commanding, his gestures superb. He was all alive with his subject. He was terribly in earnest, as if he believed everything he said, and that what he said were most momentous truths. He fastened his burning eyes upon his hearers, who listened with breathless attention, and inspired them with his sentiments; he made them feel that they were in the very jaws of destruction, and that there was no hope but in immediate repentance. His whole frame quivered with emotion, and he sat down utterly exhausted. His language was intense, not clothing new thoughts, but riveting old ideas,--the ideas of the Middle Ages; the fear of hell, the judgments of Almighty God. Who could resist such fiery earnestness, such a convulsed frame, such quivering tones, such burning eyes, such dreadful threatenings, such awful appeals? He was not artistic in the use of words and phrases like Bourdaloue, but he reached the conscience and the heart like Whitefield. He never sought to amuse; he would not stoop to any trifling. He told no stories; he made no witticisms; he used no tricks. He fell back on truths, no matter whether his hearers relished them or not; no matter whether they were amused or not. He was the messenger of God urging men to flee as for their lives, like Lot when he escaped from Sodom.