The Continental Monthly, Vol. 4, No. 1, July, 1863, page 39 by Various Authors
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ure in contributing every cent of the money to the town fund for supporting the poor. Abijah Witherpee was since known to have acknowledged that though rather hard, it was no more than he had deserved, and the change that was wrought in his dealings gained him from that time no more faithful friends than the confederates, Jones and the Major.
FOOTNOTES:
[Footnote 11: A gradual change is, indeed, observable, but as yet, it is only an incipient one.]
CHAPTER III.
--THE INFINITE.
The Divine Attributes are the base of all true Art.
No work of art can be considered truly beautiful unless it recalls or reproduces, even in its finite form, some of the divine attributes; not that the work must treat of them, or consciously suggest them to the intellect, but that they must enter into the creation of the artist, that the immediate and intuitive perception of beauty, always attached to their manifestation, may appeal to those faculties or instincts which ever answer in delight when these attributes are suggested to the human spirit; for, consciously or unconsciously, the soul yearns for a clearer view of the beauty of God.
Whatever good there may be desirable by man, more especially good belonging to his moral nature, there will be a corresponding agreeableness in whatever external object reminds him of such good, whether it remind him by arbitrary association, by typical resemblance, or by awakening intuitions of the divine attributes, which he was created to glorify and to enjoy eternally. Leibnitz says:
'The perfections of God are those of our own souls, but He possesses them without limit; He is the exhaustless ocean from which we have received but a drop; we have some power, some wisdom, some love; but God is all power, all wisdom, all love. Order, unity, proportion, harmony, enchant us; painting, sculpture, music, poetry, charm us in the degr