Not one of his writings is called a sermon, yet we have found his class, for he belongs to the class of Divines, ordained in a temple more Metropolitan and more Catholic than Canterbury or Rome, and not made with hands. Through nearly half a century of active authorship he consecrated his every gift to the service of men. He never looked back in any unfaithfulness that we know of. I wish first to make clear that all his life the gates between the soul and the Divine Source were open: that he was truly a religious man under every form of faith and doubt; and that no one need hesitate about this at any tight place in his career. Keep this as a sure clue, and we shall fearlessly follow his story. The childish sensibility to landscape beauty I take to be an early manifestation of the gift of the seer, a significant token of native nearness to the Unseen. For many years he never climbed a mountain, alone, without instinctively dropping on his knees on the summit, in thankful reverence. As the careless foot of an engrossing industrialism stamped into ashes more and more of the land whose fairness had been his life’s passion, it seemed to him to be indeed sacrilege and desecration, a reckless destruction of Divine things. Art he only valued as a form of expression, a language whose subject was Nature and Man. In the latter half of his life more emphatically, but more or less from the beginning, he regarded Man as the object for whose welfare Nature, in the landscape sense, existed; and he rested not till he had brought Man into due relation with God, up to whom in the end came all things. He was devout by training. Morning and evening he read his chapter out of the Bible; and the fourteenth century manuscript he used in later years occupied a prominent and handy place in the study at Brantwood. In Swiss and Italian villages in his early journeys he read the service through on Sunday to his servant, when there was no Protestant Church. From the Biblical references in the indexes to his works, you would suppose they were a theological library. In his Oxford Lectures Art was the illustration, but conduct the theme, and Art was chosen as an illustration because in it the artist shows what manner of Man he is, in a way that cannot be dissembled. What are the qualifications which fit a man to be a religious researcher, a mountain-top gazer into heaven?