never enable us to see the result of his ima-ginings except by means of our $yes of sense. If the poet were to employ wordswhich are not figurative of our perceptionsand experiences, his verse would be butsenseless jargon to us. Even the inspiredseer, in an attempt to convey to us a pictureof the home of the redeemed, must speak of streets of gold and gates of pearl, and a seaof glass, and a great white throne, and of palms and harps and crowns, as a help to ourconception of richness and splendor and re- joicing and victory.SEEIG AD BEIG. 1 79Raphael's Sistine Madonna can at its bestrepresent no more than he and we have seen,or now see, in an exhibit of saintly, sacredwomanhood, and of holy, winsome child-hood. either Phidias nor Michael Angelocould carve an impressive representation of Minerva, or of Moses, except by bringingout into clear prominence those traits of wis-dom, and of probity, and of holy boldness infaith, which have already been seen in theforms and faces and the conduct of the bestof the human race. From the temples of Karnak in Upper Egypt, to the Taj Mahal inAgra, and to Giotto's Tower in Florence,every stately or graceful form in architecturetook its conception from some visible beautyin nature, such as the lotus, the acanthus,the palm, the vine, the inter-arching branchesof the trees, the tracery of frost-work, thetowering walls and peaks of mountain heights,and the vaulted dome of the skies.