done, and the result answers absolutely to the intention of His wisdom, love, and power. In its relation to its Maker the work is free from any flaw. In its relation to man it contains nothing malevolent or maleficent. It is good. And once again, mark with what skill in the delineation the light is thrown, not on the work, but on the Worker, and the goodness of creation becomes but a mirror to drink in and flash forth the infinite wisdom, might, and goodness of its Divine Maker. Here also the interest is not metaphysical, but practical and religious. A third commanding aim of the narrative appears in the significant and striking use of the formula "and it was so." With absolute uniformity the Divine fiat is immediately followed by the physical fulfilment. There is no painting of the process, no delineation of slow and gradual operations of material forces. Not once is there any mention of secondary causes, nor the faintest suggestion of intermediate agencies. The Creator wills; the thing is. In this exclusion from the scene of all subordinate studies there is artistic design—profound design. The picture becomes one, not of scenery, but of action. It is not a landscape, but a portrait. The canvas contains but two solitary objects, the Creator and His work. The effect is to throw out of sight methods, materials, processes, and to throw into intense relief the act and the Actor. And the supreme and ultimate result on the beholder's mind is to produce a quite overpowering and majestic impression of the glorious personality of the Creator. Here we have reached the sovereign theme of the narrative, and have detected the false note that is struck at the outset of every attempt to interpret it as in any degree or fashion a physical record of creation. In very deed and truth the concern of the chapter is not creation, but the character, being, and glory of the Almighty Maker. If we excerpt God's speeches and the rubrical formulas, the chapter consists of one continuous chain of verbs, instinct with life and motion, linked on in swift succession, and with hardly an exception, the subject of every one of them is God. It is one long adoring delineation of God loving, yearning, willing, working in creation. Its interest is not in the work, but the Worker. Its subject is not creation, but the Creator. What it gives is not a world, but a God. It is not geology; it is theology.