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14
Christmas
Catalog is Ready
Wonderful Christmas mer
chandise , and 1000 toys and
games. Let the Kiddies see
the pictures and you’ll
know instantly what will
please them most.
Over 50 pages of our Gen
eral Winter Catalog are de
voted to Christmas sugges
tions. Ask for that, too.
Both are free on request.
Write us today: ’’Send
Christmas Catalog No .50 • ”
JOHN WANAMAKER, New York
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At your druggist’s
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Economy suggests .J kJ LgS
the dollar size. la sa|ijESjs|S
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SINFUL SADDAY
ThomMl Jacobi
"Makes an ideal
'•s. present for a boy."—•
/ fA Epworth Era.
/ \ "Full of action and
/ i entertaining.” Nash-
Li ville Banner.
il "Will be read with
/ interest, not only by
X. jf 11/ children, but by grown
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land." —Christian Ob
server.
"Far above the av
erage of boys’ books in ffe jag
living interest.’’ Ou-
Monthly.
"An exceedingly at
tractive picture of
life."—Charleston (S MgßggK&fQi
C.) News and Courier.
The story tells of a F
who, with his brother. -yy~
little cotton mill orphan
Little Pardner, get to
the Thornwell Orphan-
age, where with scores of
R comrades, the story devel
ops into a thrilling narra
tive of baseball, ambition,
schools, medals, bird nests,
Christmas bonfires, and
hundreds of such things in
which any boy is born in
terested. Santa Claus is
investigated, the baseball
game with the "town
_ nine" is won, and through
adventure and combat Sinful Sadday comes
to be a youth of parts.
The book is beautifully illustrated with
thirty-five pen sketches and twelve full-page
wash-drawings. Cover in four colors. Price
SI.OO postpaid.
SPECIAL OFFER: —With the Golden
Age one year (old or new subscription),
only $2.25 postpaid, for $1.50 we will send
the book and credit purchaser with six
months’ subscription.
THE GOLDEN AGE,
Austell Building. Atlanta, Ga.
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8 77te Master of Beryl Heights |
(Continued from Page Three). •
“Do wear them,” he urged
Lynne, as he stood by the carriage
door. “Worth himself would declare,
if he were here, that it was all you
needed to make your costume perfect.
They will look lovely in that lace con
traption at your throat.”
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g The Fourfold Crown |
(Continued from Page Two.)
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and the effect which it ought
to produce on action and char
acter. Then in the last verse you
have experimental religion: “Let the
words of my mouth and the medita
tions of my heart be acceptable in thy
sight, O Lord, my strength and my
redeemer.” Observe what progress
you have made in this psalm. You
have first, creation; second, revela
tion; third, regeneration; natural re
ligion, revealed religion, experimental
religion. As I understand it, this
psalm is in this respect an epitome
of the whole Bible.
Strictly speaking, the Bible is not
a book; it is a library. It is tne most
wonderful library in existence. It
took 1600 years to make it. Some of
these writers were princes, some were
peasants; some were lovers of war,
some preservers of peace. Parts of
it were written in prison; parts in
palaces; parts by men of the highest
culture; parts by men of ordinary in
tellect. And yet the book is a unit.
The unity of the whole Bible centers
about Jesus Christ. From the first
majestic words of Genesis to the last
love-notes of Revelation, this Book
reveals His glory and chants His
praise.
You remember that when Handel
became discouraged by his attempts
to give opera in London in a com
paratively unknown tongue, be left
London and went to Dublin. Just be
fore leaving London, some friend gave
him a passage of scripture on which
to write an oratorio which was first
wrote the oratorio which was first
called “The Sacned Oratorio,” and
which was produced first in Dublin.
Later it was given in London. It gave
him immediate fame in both cities;
now it is known as the “Oratorio of
The Messiah,” and it has carried in
sacred song the name of Handel
around the globe. He linked his name,
as a musician, with the immortal
name of Christ. The operas of the
hour are for the hour. The music
that has in it the element of endur
ingness, is religious music. The man
whose name is inseparably linked with
the name of Christ, will catch some
what of the glory of Christ, and will
live in the future, crowned in his
measure with immortal youth, as is
Jesus Christ. I never lose an oppor
tunity to hear that oratorio. There
are parts of it so sweet and so beau
tiful that I sometimes think that’if
heaven has anything better in the way
of song, I cannot endure the bliss, ex
cept I be endued with new powers of
enjoyment. I have listened to the
pastoral symphony in that oratorio
until the plain of Bethlehem came vis
ibly before my eyes, and the song of
the angels that rolled over that plain
the night the Christ was born, echo
ed through my soul. I have listened
to the contralto solo, “He was despis
ed and rejected of men, a Man of sor
rows, and acquainted with grief,’ until
The Golden Age For November 16, 1911.
Lynne smiled as she took the flow
ers, and with artistic instinct fastened
them with a diamond-set badge of the
cripple’s, which she wore today in me
moriam.
(To be Continued.)
it seemed as if my own heart would
break with sympathetic sorrow. 1
have listened to the “Hallelujah Chor
us” until I could appreciate what Han
del said of its composition, that he
seemed to see the gates of heaven
opened, and tne great God standing
before him. We know that Handel
wrote parts of that music on his knees,
and that he mingled his tears with his
ink. But, men and women, the real,
the true, the most glorious oratorio of
“The Messiah” I have here in my hand
as I hold this Bible aloft to your
gazie. The score and the text were
written by God through holy men of
old. This divine-human book is the
true “Oratorio of the Messiah.” This
Bible is the revelation of God in Jesus
Christ His Son, and our divine Re
deemer. The genuine unity of which
I spoke, pervades the book. In every
great musical composition, there is a
diapason, a unitive, a pervasive, a
dominant, a concordant note. If 1
were skillful as a musician I could
stand by Niagara Falls and write the
score of the majestic music of this
marvelous cataract. If I were a suffi
ciently competent musician I could
stand by a little brook and write the
scone of its music: both would have
their diapason, their pervasive and
unitive note. Jesus Christ is the dia
pason of the oratorio of the Bible. His
name is the harmonious note in this
glorious song of the ages. The unity
of the Bible is not external but inter
nal; it is not mechanical but essen
tial; it is not material* but spiritual;
and throughout all the Bible the name
of Christ echoes, and the glory of
Christ shines. Through the corridors
of the Bible revelation the footfalls of
Christ reverberate, and the music of
His name resounds.
In England, as in America, audien
ces uniformly rise when choirs begin
to sing the Hallelujah Chorus in the
Oratorio of The Messiah. In Albert
Hall, London, a great audience was
assembled, and Victoria, the Great
and the Good, was present in the royal
box. The audience rose, but the noble
queen remained seated. Soon every
eye was directed to the royal box in
which sat the queen. On rolled the
magnificent chorus; but the queen re
mained seated. Higher still rose the
lofty song; onward swept the glorious
music. With curious glances, the au
dience turned to the royal box in
which the queen remained seated.
Loftier still rose the celestial notes.
Now the song reached the part of the
chorus where Christ is praised as
“King of kings and Lord of lords.”
The swelling song thus puts the crown
of universal dominion on His, divine
human brow. Then the noble queen
arose and stood with bowed head, as
if she would cast the crown of the
world’s mightiest empire at the pierced
feet of her divine Lord. Creation and
revelation, art and science, song and
story, learning and genius, and all
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■earthly rulers reach their noblest
heights when they bend in lowliest
reverence at the feet of Jesus
Christ, and crown him “King of kings,
and Lord of lords.”
* * *
The Crown of History.
We see on Christ’s brow the crown
of History. What is history? It is
not easy to give a satisfactory defini
tion. Perhaps we may say that his
tory is a systematic narrative of events
in which man has participated. We
sometimes say that Herodotus was the
“father of history.” Not so; Moses
is the father of history. Moses was
an ancient and authoritative historian
centuries before Herodotus was born.
Thucydides has given us valuable il
lustrations of a scientific tendency in
the study of history. Polybius was
an accurate student of Thucydides.
Caesar was not a scientific historian
but a chronicler. Xenophen was sim
ply an annalist; even Livy and iaci
tus were not quite scientific histori
ans. Eusebius was the first ecclesiasti
cal historian worthy the name. But we
do not have a true conception of his
tory until about the time of the Re
formation. Then we began to see, and
later more fully, that there is a sci-
