ing to the judgment of the wisest theologians, the force and power of the Christian religion itself consists. And it ought not appear astonishing that so large a part should be given to souls in the universe since they reflect the most faithful image of the supreme Author, and hold to him not only the relation of machine to artificer, but also that of citizen to prince; and they are to continue as long as the universe itself; and in a manner they express and concentrate the whole in themselves so that it can be said that souls are whole parts.

As regards especially the afflictions of good people, we must hold for certain that there results for them a greater good, and this is not only theologically, but physically true. So grain cast into the ground suffers before producing its fruit. And we may affirm, generally, that afflictions, temporarily evil, are in effect good, since they are short cuts to greater perfections. So in physics, liquors which ferment slowly take more time also to improve; whereas, those the agitation of which is greater, reject certain parts with more force and are more promptly improved. And we might say of this that it is retreating in order the better to leap forward (qu'on recede, pour mieux sauter).

We should, therefore, regard these considerations not merely as agreeable and consoling, but also as most true. And, in general, I feel that there is nothing truer than happiness, and nothing happier nor sweeter than truth.

Complete. Chapter xvii. From the "Philosophical Works» of Leibnitz. Translated by Prof. George Martin Duncan, Yale University.

By permission. Copyright, 1890, by Tuttle, Morehouse & Taylor, Publishers, New Haven, Conn.

GOTTHOLD EPHRAIM LESSING

(1729-1781)

ESSING'S "Nathan the Wise" might have remained the favorite drama of Germany, if Goethe and Schiller had not written after him; and, in spite of them and of their works as critics in the same field, his "Laocoon » keeps its place above all other critical writings of modern times, occupying for modern times the same place of unquestionable pre-eminence that is conceded to Longinus "On the Sublime," among classical writers on related subjects. Its purpose was to define the nature, the principles, and the scope of sculpture, painting, and poetry, as modes of expressing human thought and emotion. His familiarity with the great classical poets was so intimate that his knowledge of plastic and graphic art, as well as of poetic, seems to be due chiefly to their teachings or to suggestions from their principles. His illustrations are so largely based on classical verse that ideas which cannot fail to be stimulating to all can be wholly intelligible only to those who will consent to share his enthusiasm for the great masters from whom his education was so largely derived.

He was born at Kamenz, in Upper Lusatia, January 22d, 1729. His father, who was a clergyman, sent him to Leipsic to study theology; but it is said that Lessing devoted his time largely to the theatre and the drama instead of to his text-books. The result was his first comedy, "The Young Scholar," which was produced in 1748,-giving great offense to his parents, who concluded that he was neglecting his studies and took him away from the University. He returned and took up the study of medicine, but soon afterwards left the University for Berlin, where he supported himself by writing until 1751. He then entered the University of Wittenberg to complete his studies. Taking his degree of Master and returning to Berlin, he began the brilliant career which made him one of the greatest names in the literature in Germany. As a poet he is attractive, as a writer of fables he is a friend of successive generations of the young in and out of Germany; as the author of "Minna von Barnhelm,» « Emilia Galotti," and "Nathan the Wise," he is secure in his place as one of the favorite dramatists of Germany, and as a critic he has given the world in his “Laocoon” a work so great that it redeems criticism from the reproach of negation and almost gives it a place as one of the

AN ANTIQUE STUDIO.

After the Painting by Alma-Tadema. Engraved by Blanchard.

o ONE else in modern times has depicted the life of Athens and Rome so well as Alma-Tadema. He has shown himself a great antiquarian as well as a great artist. The studio he has illustrated here could not have existed outside of Athens. The name "Apelles" on the box in the foreground suggests the age to which the artist wishes us to attribute what he shows us.