The Hebrew idea of the golden age of Eden is pure and exalted. It consists in the enjoyment of the favor of God, and of all that is beautiful and excellent in his works. God and nature are the whole. Nor is it merely a rude, unintelligent, sensuous enjoyment. Man primeval is not a lazy savage gathering acorns. He is made in the image of the Creator; he is to keep and dress his garden, and it is furnished with every plant good for food and pleasant to the sight. In the midst of our material civilization we need to disabuse ourselves of some prejudices before we can realize the fact that man, without the arts of life or any need of them, is not necessarily a barbarian or a savage. Yet even Adam must have been an agriculturist with strong and willing hands, and must have had some need of agricultural implements such as those with which the least civilized of his descendants have been wont to till the soil. Still, without art or with very little of it, he could enjoy all that is beautiful and grand in nature, and could rise from the observation of nature to communion with God. We need the more to realize this, inasmuch as there seems so strong a tendency to confound material civilization with higher culture, and to hold that man primeval must have been low and debased simply because he may have had no temples and no machinery. We must remember that he had nature, which is higher than fine art, and that when in harmony with his surroundings he may have had no need either of exhausting labor or of mechanical contrivances. Farther, in the contemplation of nature and in seeking after God, he had higher teachers than our boasted civilization can claim. Alas for fallen man, with his poor civilization gathered little by little from the dust of earth, and his paltry art that halts immeasurably behind nature. How little is he able even to appreciate the high estate of his great ancestor. The world of fallen men has worshipped art too much, reverenced and studied God and nature too little. The savage displays the lowest taste when he admires the rude figures which he paints on his face or his garments more than the glorious painting that adorns nature; yet even he acknowledges the pre-eminent excellence of nature by imitating her forms and colors, and by adapting her painted plumes and flowers to his own use. There is a wide interval, including many gradations, between this low position and that of the cultivated amateur or artist. The art of the latter makes a nearer approach to the truly beautiful, inasmuch as it more accurately represents the geometric and organic forms and the coloring of nature; and inasmuch as it devises ideal combinations not found in the actual world; which ideal combinations, however, are beautiful or monstrous just as they realize or violate the harmonies of nature. It is only the highest culture that brings man back to his primitive refinement.