Suppose, for example, that it were possible to dissolve away all the works of art which clearly owe their being to thoughts, emotions, or visions derived from the Bible,—all sculpture like Donatello’s “David” and Michelangelo’s “Moses”; all painting like Raphael’s “Sistine Madonna” and Murillo’s “Holy Family”; all music like Bach’s “Passion” and Handel’s “Messiah”; all poetry like Dante’s “Divine Comedy” and Milton’s “Paradise Lost,”—how it would impoverish the world! The literary influence of the Bible appears the more wonderful when we consider that it is the work of a race not otherwise potent or famous in literature. We do not know, of course, what other books may have come from the Jewish nation and vanished with whatever of power or beauty they possessed; but in those that remain there is little of exceptional force or charm for readers outside of the Hebrew race. They have no broad human appeal, no universal significance, not even any signal excellence of form and imagery. Josephus is a fairly good historian, sometimes entertaining, but not comparable to Herodotus or Thucydides or Tacitus or Gibbon. The Talmuds are vast storehouses of things new and old, where a careful searcher may now and then find a legendary gem or a quaint fragment of moral tapestry. In histories of mediæval literature, Ibn Ezra of Toledo and Rashi of Lunel are spoken of with respect. In modern letters, works as far apart as the philosophical treatises of Spinoza and the lyrics of Heinrich Heine have distinction in their kind. No one thinks that the Hebrews are lacking in great and varied talents; but how is it that in world-literature their only contribution that counts is the Bible? And how is it that it counts so immensely? It is possible to answer by saying that in the Old Testament we have a happily made collection of the best things in the ancient literature of the Jews, and in the New Testament we have another anthology of the finest of the narratives and letters which were produced by certain writers of the same race under a new and exceedingly powerful spiritual impulse. The Bible is excellent because it contains the cream of Hebrew thought. But this answer explains nothing. It only restates the facts in another form. How did the cream rise? How did such a collection come to be made? What gives it unity and coherence underneath all its diversity? How is it that, as a clear critic has well said, “These sixty books, with all their varieties of age, authorship, literary form, are, when properly arranged, felt to draw together with a unity like the connectedness of a dramatic plot?” There is an answer, which if it be accepted, carries with it a solution of the problem.