that has been played by "sacred records" in all the nations of the world.
A little while ago I saw one of the Bibles of the Middle Ages. It was about two feet in length, and one and a half in width. It had immense oaken covers, with hasps, and clasps, and hinges large enough almost for the doors of a penitentiary. It was covered with pictures of winged angels and aureoled saints. In my imagination I saw this book carried to the cathedral altar in solemn pomp—heard the chant of robed and kneeling priests, felt the strange tremor of the organ's peal; saw the colored light streaming through windows stained and touched by blood and flame—the swinging censer with its perfumed incense rising to the mighty roof, dim with height and rich with legend carved in stone, while on the walls was hung, written in light, and shade, and all the colors that can tell of joy and tears, the pictured history of the martyred Christ. The people fell upon their knees. The book was opened, and the priest read the messages from God to man. To the multitude, the book itself was evidence enough that it was not the work of human hands. How could those little marks and lines and dots contain, like tombs, the thoughts of men, and how could they, touched by a
