Dr. James Martineau once made in a sermon the startling remark that, “if it could be known that God was dead, the news would cause but little excitement in the streets of Berlin or Paris.” The observation was doubtless true; for, of _direct_ thought of God, the streets of great cities are probably the emptiest of any places wherein mortals may be found. But there is an enormous share of human ideas and feelings not directly or consciously turned toward God, yet nevertheless colored by the belief that such a Being exists. Perhaps it would be more proper to say that in Christendom every idea and every feeling have imperceptibly been built up on the theory that there is a God. We see everything _with Him for a background_. Inanimate nature and the lower animals, human history and society, poetry, literature, science, and art,--every one of them has its religious aspect, which can only be excluded by a mental _tour de force_. Take inanimate nature, for example,--the region where it seems easiest to sever the links of habitual thought, and which the doctrine of Evolution (according to some of its teachers) has already withdrawn from the domain of a Creative Power. We all love this nature; and our hearts are moved to their depths by sympathy with it when we gaze round of a summer morning upon the woods and hills and waters, or, later in the year, upon the “happy autumn fields” of ripened corn, or, on a winter’s night, up into the solemn host of stars. But is it merely the glittering “patines of bright gold,” or fields of yellow wheat, or the block of wood and rock which form the forest or the mountain, which awaken in us such mysterious emotion? Are we not dimly worshipping the soul of nature through earth and sky,--the spirit wherewith our spirits are in ineffable harmony, and of which all the loveliness we behold is but the shadow? Let some Agnostic disenchanter come to us at such an hour and tell us that, though it takes a man of genius to depict worthily on canvas a corner of this wide field of loveliness, yet that the whole great original had no Painter, no Designer; that the mountains had no Architect, the well-balanced stars no supreme Geometer, but that it all came about as we behold it through the action of forces, unguided by any mind, undirected by any Will,--and what revulsion shall we not experience? Shall we not feel like a man enamoured of a beautiful woman whom he has believed to be good and wise and tender, but, when he comes at last to look close into her face, he finds her to be a soulless idiot, from whose stony and meaningless gaze he turns shuddering away?