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its presentment of a time-honoured doctrine regarding the origin of the universe. The Almighty, in human form, sits benignly, making the sun, moon, and stars, and hanging them from the solid firmament which supports the "heaven above" and overarches the "earth beneath." The furrows of thought on the Creator's brow show that in this work he is obliged to contrive; the knotted muscles upon his arms show that he is obliged to toil; naturally, then, the sculptors and painters of the medieval and early modern period frequently represented him as the writers whose conceptions they embodied had done--as, on the seventh day, weary after thought and toil, enjoying well-earned repose and the plaudits of the hosts of heaven. In these thought-fossils of the cathedrals, and in other revelations of the same idea through sculpture, painting, glass-staining, mosaic work, and engraving, during the Middle Ages and the two centuries following, culminated a belief which had been developed through thousands of years, and which has determined the world's thought until our own time. Its beginnings lie far back in human history; we find them among the early records of nearly all the great civilizations, and they hold a most prominent place in the various sacred books of the world. In nearly all of them is revealed the conception of a Creator of whom man is an imperfect image, and who literally and directly created the visible universe with his hands and fingers. Among these theories, of especial interest to us are those which controlled theological thought in Chaldea. The Assyrian inscriptions which have been recently recovered and given to the English-speaking peoples by Layard, George Smith, Sayce, and others, show that in the