"prepared before the face of all people." And seeing this, he sees all he desires. Earth can give no brighter vision, no deeper joy, and all his request is-- "Now lettest Thou Thy servant depart, O Lord, According to Thy word, in peace; For mine eyes have seen Thy salvation." And so the four psalms of the Gospels form in reality but one song, the notes rising higher and still higher, until they reach the very pinnacle of the new temple--God's purpose and plan of redemption; that temple whose altar is a cross, and whose Victim is "the Lamb slain from the foundation of the world;" that temple where courts and dividing-lines all disappear; where the Holiest of all lies open to a redeemed humanity, and Jews and Gentiles, bond and free, old and young, are alike "kings and priests unto God." And so the Gospel psalms throw back, as it were, in a thousand echoes, the _Glorias_ of the Advent angels, as they sing-- "Glory to God in the highest, And on earth peace." And what is this but earth's prelude or rehearsal for the heavenly song, as all nations, and kindreds, and peoples, and tongues, falling down before the Lamb in the midst of the throne, sing, "Salvation unto our God, which sitteth upon the throne, and unto the LAMB"? CHAPTER IV. _THE VIRGIN MOTHER._ The Beautiful Gate of the Jewish Temple opened into the "Court of the Women"--so named from the fact that they were not allowed any nearer approach towards the Holy Place. And as we open the gate of the third Gospel we enter the Court of the Women; for more than any other Evangelist, St. Luke records their loving and varied ministries. Perhaps this is owing to his profession, which naturally would bring him into more frequent contact with feminine life. Or perhaps it is a little Philippian colour thrown into his Gospel; for we must not forget that St. Luke had been left by the Apostle Paul at Philippi, to superintend the Church that had been cradled in the prayers of the "river-side" women. It may be a tinge of Lydia's purple; or to speak more broadly and more literally, it may be the subtle, unconscious influences of that Philippian circle that have given a certain feminity to our third Gospel. St. Luke alone gives us the psalms of the three women, Anna, Elisabeth, and Mary; he alone gives us the names of Susanna and Joanna, who ministered to Christ of their substance; he alone gives us that Galilean idyll, where the nameless "woman" bathes His feet with tears, and at the same time rains a hot rebuke on the cold civilities of the Pharisee, Simon; he alone tells of the widow of Zarephath, who welcomed and saved a prophet men were seeking to slay; he alone tells us of the widow of Nain, of the woman bent with infirmity, and of the woman grieving over her lost piece of silver. And as St. Luke opens his Gospel with woman's tribute of song, so in his last chapter he paints for us that group of women, constant amid man's inconstancies, coming ere the