In the mediæval speculations whether theological, philosophical or scientific, the search for truth runs back to the authentic ground of the religious verities,--largely to revealed truth; and these religious verities run back to the question, “What hath God ordained?” In the course of the era of handicraft this ultimate question of knowledge came to take the form, “What hath God wrought?” Not that the creative office of God in the divine economy was overlooked or in any degree intentionally made light of by the earlier speculators; nor that the sovereignty of God was denied or in any degree questioned by those devout inquirers who carried forward the work in later time. But in that earlier phase of faith and inquiry it is distinctly the suzerainty of God, and His ordinances, that afford the ground of finality on which all inquiry touching the economy of this world ultimately come to rest; and in the later phase, as seen at the close of the era of handicraft, it is as distinctly His creative office and the logic of His creative design that fill the place of an ultimate term in human inquiry--as that inquiry conventionally runs within the spiritual frontiers of Christendom. God had not ceased to be the Heavenly King, and had not ceased to be glorified with the traditional phrases of homage as the Most High, the Lord of Hosts etc., but somewhat incongruously He had also come to be exalted as the Great Artificer--the preternatural craftsman. The vulgar habits of thought bred in the workday populace by the routine of the workshop and the market place had stolen their way into the sanctuary and the counsels of divinity.