his cause, "I have a famous one,—no less than the confessor of King David."
Things of this sort naturally made an impression on the boy, and led him into similar states of mind. In fact, he came to the thought that he might immediately approach the great God of nature, the Creator and Preserver of heaven and earth, whose earlier manifestations of wrath had been long forgotten in the beauty of the world, and the manifold blessings in which we participate while upon it. The way he took to accomplish this was very curious.
The boy had chiefly kept to the first article of belief. The God who stands in immediate connection with nature, and owns and loves it as his work, seemed to him the proper God, who might be brought into closer relationship with man, as with everything else, and who would take care of him, as of the motion of the stars, the days and seasons, the animals and plants. There were texts of the Gospels which explicitly stated this. The boy could ascribe no form to this Being: he therefore sought him in his works, and would, in the good Old-Testament fashion, build him an altar. Natural productions were set forth as images of the world, over which a flame was to burn, signifying the aspirations of man's heart toward his Maker. He brought out of the collection of natural objects which he possessed, and which had been increased as chance directed, the best ores and other specimens. But the next difficulty was, as to how they should be arranged and raised into a pile. His father possessed a beautiful red-lacquered music-stand, ornamented with gilt flowers, in the form of a four-sided pyramid, with different elevations, which had been found convenient for quartets, but lately was not much in use. The boy laid hands on this, and built up his representatives of nature one above the other in steps; so that it all looked quite pretty and at the same time sufficiently
