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 pictorial representation of their noble and beautiful souls? The flowers of love that are ever opening in their hearts, the fruits of charity they are ever busy in bringing forth, the green and living things of intelligence which are constantly springing up within them—why should not these go forth and embody themselves or appear under corresponding forms of beauty and loveliness? Why should not the fragrance, verdure and bloom of the outward angelic world, be in perfect correspondence with the fragrance, beauty and bloom of angelic minds?

Almost every one has an instinctive perception that there exists an intimate relation between the beautiful and the good—a relation so intimate that the former is the divinely ordained representative of the latter. We all feel an instinctive repugnance to connecting innocence and virtue with dismal scenes or unsightly objects, for we recognize their native disagreement, or unsuitableness to each other; while inward evil and outward ugliness seem naturally to belong together. Thus Milton, in portraying the beautiful scenery round about Adam and Eve in the days of their innecence, has but uttered the universal sentiment of mankind; and his utterance, therefore, meets with a ready response from the universal human heart. Every one feels that a place less beautiful than that sweet Garden which the great poet has so finely pictured, would not have agreed with the innocence and purity of the couple he describes. So universal is the perception that the good and the beautiful belong together, and that the Creator designed the one to be the visible image of the other. Considering the purity and innocence of the denizens of heaven, what, then,