These lessons Lessing preached from his theatre pulpit to the obdurate minds of the followers of Christ. The wise Jew, Nathan--Mendelssohn--has arrived at the highest level of human sympathy; while the best Christian, the Templar, every cultivated Christian--the Nicolais, the Abts, the Herders--have yet to free themselves from their thick-skinned prejudices, to attain to that height. It is a delusion to claim the possession of the one true religion and the only means of salvation. Who possesses the real ring? How can the real one be detected from the false? Only by meekness, heartfelt tolerance, true benevolence, and most fervent devotion to God; in short, by all those qualities which the official Christianity of the time did not display, and which were perfectly realized in Mendelssohn. In every way Lessing scourged fossilized, persecuting Christianity, and glorified Judaism through its chief representative. As if this splendid drama, the beautiful first-fruits of German poetry, was to belong to the Jews, although given to the world by a Christian poet, a son of Israel aided its production. Lessing, besieged by theological foes, and fighting against dire necessity, would not have been able to complete it, if, during its composition, he had not been enabled to live without anxiety. He required a loan, and found no helper among the Christians. Moses Wessely, in Hamburg, the brother of the neo-Hebraic poet, Naphtali Wessely, who afterwards made a name for himself in Jewish history, advanced the desired sum, although he was not a wealthy Jew, and only wished to have the honor of possessing something in Lessing's handwriting.