Perhaps the greatest superiority of Professor Levy Bruehl lies in the unity of description he employs in order to bring home to the reader the unity of the subject he treats. He sees the whole as a whole, as it really is, all being contained in all, and nothing in past or present omitted. This is the truth of the Germanic oneness of species, and the failure to conceive it of most writers of our day is the chief cause of confusion. It is a vast, coherent vision of things taken in by mind and eye from the _Niebelungen Lied_ to the wholesale captivity of the French army, in the autumn of 1870, and when not thus conceived, incomplete. To those who lived in and through the period comprised between the war of the Danish Duchies and the re-conquest of Alsace-Lorraine, no item of even prehistoric times can remain absent; the spirit of German unity is everywhere, pervades everything, and those alone who thoroughly master this are capable of painting it to others' senses. It is very well to take a Leibniz or Frederick the Great for a starting-point, but it all goes immeasurably farther back than that. Luther and his Bible open one large historic gate. The Bible heads all! In 1813, writes General Clausewitz to the so-called Great Gascon, the prime impetus was a religious one, and his own words are: "If I could only hang a Bible to the equipments of my troopers I could do with them all that Cromwell did with his Ironsides!" Two centuries before, this had been the feeling of Gustavus Adolphus, who fought for Protestant Germany with his Bible at his saddle-bow. Luther is the one predominant Teuton of the centuries, after the close of the middle ages, and though he ceases to be present in the flesh in 1516, he never dies. The inspiration of the German soul endures and lives in every variety of art or expression. Luther is perpetuated in Handel, and technically, even his "_Feste Burg_" is the first note of the "_Inspirate_" in "_I Know That My Redeemer Liveth!_"