long gray hair falling over his shoulders, sitting on a tired horse plodding forward with loosened rein. It is a subject the genius of a Millet might have made as memorable as his famous “Angelus,”--the two peasants praying as they hear the bell across the damp fields at even. And your dream, vision, picture, call it what you will, would be no less an adequate clue to the meaning of that famous age, than would some of the most stirring scenes in the history of Great Britain in those thrilling times. For in a sense John Wesley expressed the spirit of many thousands of its people. FOOTNOTES: [1] To shew how inaccessible Epworth must have been, I may mention that when I went there in an automobile, the sides of the roads were pointed out to me as paved so as to make a mule track about three feet in width. LECTURE II GEORGE CRABBE I have chosen the subject of George Crabbe, the Suffolk poet, partly out of attachment to the county of my birth, but also because I have certain faint though undoubted family links in connection with him.[2] In addition to this, his character, as a man as well as a poet, has a certain attraction for me; and even though there has been a revival of interest in him, comparatively few have studied him, or are acquainted with the facts of his life. Crabbe, however, was singularly fortunate in having a son, possessed of many valuable qualities as a biographer, for not only was he affectionate, and extraordinarily proud of his father, but at the same time he was not blind to his defects as a man or as a writer. And it must be remembered that Crabbe at his death occupied a place in public estimation, together with Scott and Byron; that the latter had described him as “Nature’s sternest painter and the best,” and had written of him, “Crabbe, the first of living poets.” A son, therefore, who under such circumstances could refrain from indiscriminating eulogy of a beloved father just after his death must be a man to be trusted.