even in the midst of the delightful exercise of its recreative "sport," is the interpretative revelation of the realities of this universe in their intrinsic beauty and harmony, and in such power as to effect their vivid realization; and whose possibilities "will be richer, by as much as the truth of the creation of the Infinite is richer than the fantasy of the human mind."

It is profoundly significant that, of all man's creations, only the artistic is enduring in its hold upon his affections. Only things of beauty are" a joy forever." Indeed, the glory of the Greek nation, yea its perpetuity, not only in history, but in the life and being of the race, and thus what we call its immortality, was largely the outcome and product of its magnificent development of art, in its various forms. And when our age shall awaken to its immeasurably greater opportunities, through its growing possession of this new and truly inexhaustible universe, and shall generally recognize and appreciate the surpassing worth of art and its enduring quality, and shall, accordingly, turn its superabundant energies directly and with like devotion to its development; then, indeed, and over and beyond what is wrought through our triumphs in science, will we most effectually and endurably impress ourselves upon and within the future life of the race, and most preciously contribute to its enrichment. We shall then pay our debt to the past, by our greater benefactions to the future: and, in the ensuing progress, it will yet be seen and appreciated that this Greek art, in its beautiful perfection but limited scope, was but the opening vestibule into the greater, more glorious, and the truly consecrated Temple of Art, which in its ever expanding proportions is destined ultimately to fill the earth: and the light of this temple is to be the glory of God.

Nor can this art, which in its blessed ministry to man might properly be termed the lovely handmaid of religion,

ever usurp her place and function. Bacon's words of wisdom are both pertinent and of commanding force. In his De Augmentis, Ninth Book, he says:

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"Wherefore we conclude that Sacred Theology ought to be derived from the word and oracles of God, and not from the light of nature, or the dictates of reason. For it is written, The heavens declare the glory of God,' but it is nowhere written, The heavens declare the will of God'; but of that it is said, 'To the law and to the testimony; if men do not according to this word, etc.' And this holds not only in those great mysteries which concern the Deity, the Creation, and the Redemption; but it pertains likewise to a more perfect interpretation of the moral law, Love your enemies'; 'do good to them that hate you,' and so on; that ye may be the children of your father who is in heaven, that sendeth rain upon the just and the unjust.' To which words this applause may well be applied, that they do not sound human'; since it is a voice beyond the light of nature. .. So then religion, whether considered with regard to morals or mysteries, depends on revelation from God."

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It is very noticeable that the few great creative artists of modern times, those whom we are wont to count upon our fingers, were profoundly reverent. This is especially true of Michael Angelo, of Dante, and of Milton; and the great Goethe has opened to us the recesses of his heart, in these expressive words:

"Credo Deum! That is a fine, a worthy thing to say; but to recognize God where and as he reveals himself, is the only true bliss on earth." "Man must be capable of elevating himself to the highest Reason, to come into contact with the Divinity, which manifests itself in the elemental phenomena, which dwells behind them, and from which they proceed." "But this is the divine energy everywhere diffused, and divine love everywhere active." "In Faust himself there is an activity which becomes

constantly higher and purer to the end, and from above, there is eternal love coming to his aid. This harmonizes perfectly with our religious views, according to which we cannot obtain heavenly bliss through our own strength alone, but with the assistance of divine grace."

And Bacon, the greatest of them all, bowed in unfeigned reverence before the Father; regarding the universe as His handiwork, and earnestly striving to afford to man "a revelation and true vision of the traces and moulds of the Creator in his creatures.”

This reverent spirit not only brings the soul into intimate sympathy with the great Heart pulsating through all existence, but somehow it opens the door to the incoming of the divine impulse, which lies at the core of all great creative production. The divine origin of this impulse, and its workings within himself, are shadowed forth by Bacon, in these few, fervent words: "-ever earnestly desiring, with such a passion as we believe God alone inspires, that this which has been hitherto unattempted may not now be attempted in vain." In a word, it is not the instinct of self-glorification, but the unselfish devotion of the soul, devotion to the Father, and to His children, the burning impulse of service to mankind, of self-impartation to others, which is the germ, the source, the fountain of all great creative work; for it is the nearest approach to the likeness of the inspiration of the Divine Artist

Goethe, profoundly impressed by the fact, gave it expression in his criticism of a German poet, "who had lately gained a great name," but who has since been almost forgotten: "We cannot deny that he has many brilliant qualities, but he is wanting in love. He loves his readers and his fellow poets as little as he loves himself, and thus we may apply to him the maxim of the apostle, Though I speak with the tongues of men and

angels, and have not love, I am become as sounding brass and a tinkling cymbal.' I have lately read the poems of Platen, and cannot deny his great talent. But, as I said, he is deficient in love, and thus he will never produce the effect which he ought."

The first attribute of the creative artist is vision, in the clarity afforded by "purity of illumination "; the second is the power of manifestation, in giving incarnation to his visions; and the third is love, the divine impulse. And here again, the greatest of these is love; for love is the inspiration and the sustaining power, both the flame and the oil in the lamp.

All of which, in a word, is but a glimpse of the profound truths exemplified in Bacon's authorship of the plays.

AN AFTER-WORD.

OF INTEREST TO LAWYERS.

FRANCIS BACON was an accomplished lawyer, bred in the profession, himself the son of a lawyer.* In the beginning, and for eight years a briefless barrister, he rose successively through the various gradations to the highest eminence in his profession, becoming, in 1618, Lord Chancellor of Great Britain. His pleas, many of which have been preserved, and his legal writings fully attest his

*And since I am upon the point whom I will hear, your Lordships will give me leave to tell you a fancy. It falls out, that there be three of us the King's servants in great place, that are lawyers by descent, Mr. Attorney, son of a judge, Mr. Solicitor, likewise son of a judge, and myself, a chancellor's son. Now, because the law roots so well in my time, I will water it at the root thus far, as besides these great ones, I will hear any Judge's son before a Sergeant, and any Sergeant's son before a Reader, if there be not many of them."—Speech on taking his seat in Chancery. Works, Vol. 13, page 192.

(They were trained together in their childhood; and there rooted betwixt them such an affection which cannot choose but branch now. Since their more mature dignities and royal necessities made separation of their society, their encounters, though not personal, have been royally attorneyed, with interchange of gifts, letters, loving embassies."-A Winter's Tale, I., 1.

"I have spoke this, to know if your affiance

Were deeply rooted."-Cymbeline, I., 6.

"But I, having a good affiance in your Grace's judgment, will tell you my reason why I thus think, and so leave it."Works, Vol. 14, page 450.)