for it, in his famous prophecy that the eyes of the blind shall be opened. The studies for the grand cartoon of Lazarus were made possibly while the artist mused over the stories of Elijah raising the son of the widow, or of Elisha reviving one already dead by mere contact with his bones. In the veins of the Logos flows no passionate blood. His language is vehement, but suggests no corresponding emotion; the words are not vascular. Certain superficial peculiarities of these discourses are noticeable at once, their length, their stateliness, their absoluteness, their loud-voiced, declamatory character, their oracular tone. But little scrutiny is required to discover that they are monotones; that their theme is always the same, namely, the claims of the Christ; that they unfold no system of moral or spiritual teaching, proceed in no rational order, arrive at no conclusions; that they contain no arguments, answer no questions, meet no inquiring states of mind; that they resemble orations more than discourses of any other kind, but are unlike orations, in having neither beginning middle nor end, in quite lacking point and application, in proceeding no whither, in simply standing still and reiterating the same sublime abstractions, without regard to logical or rhetorical proprieties. This being discovered, the conclusion follows swiftly, that the divine Logos could not discourse otherwise. His addresses, like his deeds, are designed to be revelations of himself; expressions, not of his thoughts, but of his being, not of his character, but of his nature. They are the Word made articulate, as his wonders are the Word made mighty, as his form is the Word made visible. A human being, seeking to convince, persuade, instruct mankind, will from necessity pursue a different course from the divine Reason presenting itself to "the world." Its very audiences are impersonal, consisting not of individuals or of parties, but of abstractions labelled "Jews," who come like shadows, so depart.