Without this completion of the Gospel, Christ's saviorhood does not reach inward to our need. For lacking it, we stand before the Master with the same admiration that a man who is no painter feels when he sees a Raphael. He knows the work is sublime, but he is not proposing to reproduce it. He is conquered by its beauty, but he knows no possibility of its imitation. If, however, there were a spirit of Raphael that could lay hold upon a man's life and transform him to the master's skill and power, then his admiration would become inwardly effective. _It takes the spirit of Raphael to do Raphael's work._ If this gospel of an indwelling dynamic is not coupled with our admiration for Jesus, we are like a student practicing the fingering of the Hallelujah Chorus on an organ from which the power has been shut off. With what accuracy his fingers travel the keys, who can tell? Once Handel's soul, on fire with the passion of harmony, burned itself into that composition. He wrote it upon his knees. But with whatever agility the student's fingers follow the notes, no Hallelujah Chorus comes from his organ to praise God and move men. So the record of this matchless character handed to us in the gospels, like notes of music meant to be played again, is but our despair, if we must attempt its reproduction on a powerless organ. Our admiration for it is external and ineffectual. We fall thereby into a static religion of creed; we have no dynamic religion of progress and hope. This then is the glorious message, where the Christian Gospel reaches its climax, and which alone puts fullest meaning into Jesus' perfect life: _the Spirit of God in Jesus made his quality; that same Spirit is underground in our lives, striving to well up in characters like his, until we live, yet not we, but Christ lives in us_.