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 of a peculiarly serene and leisurely habit of life. And whenever his local habitation is pictured in poetic imagery, for edification or in appeal to the devout fancy, the devout word-painter, as a matter of course, brings out before his auditors' imagination a throne with a profusion of the insignia of opulence and power, and surrounded by a great number of servitors. In the common run of such presentations of the celestial abodes, the office of this corps of servants is a vicarious leisure, their time and efforts being in great measure taken up with an industrially unproductive rehearsal of the meritorious characteristics and exploits of the divinity; while the background of the presentation is filled with the shimmer of the precious metals and of the more expensive varieties of precious stones. It is only in the crasser expressions of devout fancy that this intrusion of pecuniary canons into the devout ideals reaches such an extreme. An extreme case occurs in the devout imagery of the negro population of the South. Their word-painters are unable to descend to anything cheaper than gold; so that in this case the insistence on pecuniary beauty gives a startling effect in yellow,—such as would be unbearable to a soberer taste. Still, there is probably no cult in which ideals of pecuniary merit have not been called in to supplement the ideals of ceremonial adequacy that guide men's conception of what is right in the matter of sacred apparatus.

Similarly it is felt—and the sentiment is acted upon—that the priestly servitors of the divinity should not engage in industrially productive work; that work of