Even in Shakespeare the springs of genius were not in the mind. The heart of our greatest poet was so sensitive that he could not see an apple blossom without hoping that no untimely frost would nip it; could not see the clusters turn purple under the autumn sun without hoping that hailstones would not pound off the rich clusters; could not see a youth leave his home to seek his fortune without praying that he would return to his mother laden with rich treasures; could not see a bride go down the aisle of the church without sending up a petition that many years might intervene before death's hand should touch her white brow. Sympathy in the heart so fed the springs of thought in the mind that it was easy for the poet to put himself in another's place. And so, while his pen wrote, his heart felt itself to be the king and also his servant, to be the merchant and also his clerk, to be the general and also his soldier. He saw the assassin drawing near the throne with a dagger beneath his cloak; he went forth with King Lear to shiver beneath the wintry blasts; he rejoiced with Rosalind and wept with Hamlet, and there was no joy or grief or woe or wrong that ever touched a human heart that he did not perfectly feel and, therefore, perfectly describe. For depth of mind begins with depth of heart. The greatest writers are primarily seers and only incidentally thinkers. As of old, so now, for a thousand thinkers there is only one great seer. Having affirmed the influence of the heart upon the intellect and scholarship, let us hasten to confess that the heart determines the religious belief and creed. It is often said that belief is a matter of pure reason determined wholly by evidence. And doubtless it is true that in approaching mathematical proofs man is to discharge his mind of all color. That two and two are four is true for the poet and the miser, for the peaceable man not less than the litigious. But of the other truths of life it is a fact that with the heart man believes. We approach wheat with scales, we measure silk with a yardstick; we test the painting with taste and imagination, and the symphony with the sense of melody; motives and actions are tested by conscience; we approach the stars with a telescope, while purity of heart is the glass by which we see God. The scales that are useful in the laboratory are utterly valueless in the art gallery. The scientific faculty that fits Spencer for studying nature unfits him for studying art. In his old age Huxley, the scientist, wrote an essay forty pages long to prove that man was more beautiful than woman. Imagine some Tyndall approaching the transfiguration of Raphael to scrape off the colors and test them with acid and alkali for finding out the proportion of blue and crimson and gold. These are the methods that would give the village paint-grinder precedency above genius itself.