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Calm age Sermon By Rev. Frank Do Witt Talmnge, D. D. I.os Ah'-vIps, C:il.. Aujr. 28.—At the season when n: ti re is displaying her glories In gre.ilest ahnndanee the preacher chooses as a theme for his sermon the beauty of tl ings audible and visible and contrasts it with the higher beauty which conies to those whose lives are in harmony with the Divine life. The text is Ecclesiastes iii, ]1, ‘Tie hath made everything beautiful in Ids time.” The Solomonic writings are often epigrammatic in style. Like priceless jewels cut and polished by the lapi daries and collected in caskets, lire- spective of size or color, bis verses as verbal gems are clustered into chap ters, with but little attempt at con secutive arrangement. Indeed, King Solomon for the most part seems to me to be like a writer of notebooks. In the king’s judgment ball or on the street or out upon the hillsides under the blue dome of the sky, when a great thought is divinely inspired within bis brain, ho jots that thought down in memorandum. Then at the end of the day or the week or the month or the don. a discoid, but man redeemed, Is haloed with divine beauty, and, as Uniph Waldo Trine has said. “He is in tune with the inlinite." lie becomes part of the universal harmony, and his thoughts are in spiritual symmetry with the thoughts of (iod. ('olerldKe*ii Deli nit ion. We Hud an analogy for man’s spir itual beauty’ in the painter’s brush and the artist's easel. According to Samuel Coleridge, the English poet and literary critic, the true definition of “beauty” is “multitude in unity.” When standing before a great picture like that of Leonardo da Vinci’s “Last Supper," or Murillo’s “Miracle of the Loaves and Fishes,” or Raphael’s greatest picture, his Sistine “Madon na,” we find that there the many lights and the shadows, the gold and the silver and the green and the yel low and the blue and the saffron and the violet and the purple, all blend In one common purpose. Thousands, per haps tens of thousands of times, Mi chael Angelo, with his brush, may have touched the wall in the Vatican where today Is seen Ids “Last Judgment.” Rut not one of all of those thousands of times when he laid on the paint did he do so without having one great Idea In his mind. “Perfection is composed of many trifles,” wrote he, “but per fection in art is not a trifle.” A great picture is always “multitudes of dif ferent colors In blending unity.” That unity is the cause of beauty when seen upon the canvas of the masters of old and the masters of the present day. “A Multitude In Unity.” An artist’s beauty is a “multitude In year he collects these different. ^ ^ ^ , thoughts, irrespective of their logical nnUy.” We know that Samuel Cole- sequence, into a chapter or a hook i and has the court stenographer write - them out again in full. In other words, King Solomon’s verses for the most part are like freight cars that can he sidetracked or uncoupled from one car and attached to other cars. Each verse stands out as a distinct entity. An average verse is ns appropriate in the sixth chapter of Proverbs as In the twentieth chapter. The verse is the car. The chapter is the freight train. They are often as unconnected as the definitions of Webster’s Dic tionary. They change their subjects very often. They are like nuggets of gold sometimes found by the Austra lian miners in the dust by the road sides or In the river beds, entirely sep arated from any gold veins. They are Jlike great round bowlders of rock ini- j bedded in the sands. These bowlder verses in a glacial age have been car ried by the ice from afar and have found a resting place amid entirely dif ferent elements from those among which they were oreated. The modern critics tell us that King Solomon did not write the hook of Ec- cleiastes; that its style and diction be long to a later date. It appears to me, however, that its tone and its depress ing refrain are characteristic of a man Who led such a life of ease and self In dulgence as Solomon led, and that at the end of It, satiated with pleasure and study, as he must have been, it was precisely the kind of hook that would come from Lis pen, and the con clusions uttered in that hook Just such as would he likely to he reached by a man who, having strayed from God, was disappointed and dissatisfied with his life. In the absence, therefore, of definite knowledge I shall assume that the first verse of the book Indicates him as the author, “The son of David, king in Jerusalem.” The Law of Sequence. But, though King Solomon was not, as a rule, a connected writer, yet in the book of Eecleslates he makes an excep tion to his usual custom. In this third chapter, for example, there is clear sequence. No man can interpret my text aright unless he uses the words, “He hath made everything beautiful In his time,” as a glorious climax to the ten verses which precede them. Solomon is here enunciating the mighty law of sequence. He is marshaling the events of a human life as an army. Each event must have its right posi tion. In the language of the chapter, he says, “There Is a time to he horn and a time to die.” There Is a time for a cradle and a time when the wood of that cradle should he changed Into a coflin lid. “There is a time to plant and a time to reap that which is plant ed.” The plow and the sickle cannot have the rust rubbed off their faces at the same time. “There Is u time to weep and a time to laugh.” That means that a Joke or a caehlnnatlon at a funeral Is a discord. A tear and a sob at a coronation are also out of place. A wedding march Is never played in a minor key; neither is the “Battle Hymn of the Republic” sung to the accompa niment of the “Dead March” from “Saul,” nor is a Christmas carol im prisoned behind the musical burs of a Mozart’s requiem. “There is a time to love and a time to hate.” There Is a time when the “uugel of mercy” should extend the open palm of forgiveness as well as a time when the clinched flat of Justice must defend the weak and fight u mortal combat over the pros trate forms of Innocence and rectitude. Then, after the author of my text haa sung the changes of the “Gospel Har monies of Sequence”—the meadow lands and upon the mountain top, in sea and on land, by cradles and by open ed graves, during the times when the dove of peace is hovering over man, and during the time when the black ravwi of war Is flapping his wings above bloody battlefields—King Solo mon generalizes all his statements In one great conclusion. He practically says, “All the different heart heats ot V Joy and sorrow, life and death, peaeo and conflict, hope and despair, have their purpose to serve, If they only ridge’s definition in reference to the painter's easel Is true. We see a “mul titude of colors in unity” when Tur ner, the most brilliant artistic colorist England ever produced, makes the sea a creature of life. Now it is a beauti ful boulevard of gold, paving its way to the throne of a setting sun; now a perfect pandemonium of furies; now it Is a burial scene, when Sir David Wil kie finds a sepulcher in the mighty deep, whose waves heat themselves In to pieces on the Gibraltar crags. We see an artist’s “multitude In unity” In the portraits of a Sir Anthony Van dyke and in the mighty mountain peaks of a Bierdstadt and In the pas toral dreams of a Millet. But, though there may ho many different tints blending in the colors of a rainbow or In the hectic Hush of a rose, did you ever stop to realize that all colors come from but three primal colors, just the same as all nature? All the animal and vegetable and mineral kingdoms have hut sixty-six different basic elements, of which they are all composed. So in the artistic world we find that all colors originally come from hut three primary colors—the red, the yellow and the blue. Now, if God can form the artistic beauty of the sky, the sea, the land, out of the simple red, the simple yellow and the simple violet, is it ab surd to suppose that God can spiritual ly make us artistically beautiful, no matter how crude and sinful we may he, if we only allow our thoughts and lives to he combined in symmetry with his thoughts and with Christ’s life? Oh. the beauty of blending colors! From the brilliant pictorials of an au tumnal leaf let us learn the spiritual lesson for man that God hath made and can make everything beautiful In its time. Rut the musician's oratory and sym metry of sounds have also their analo gies by which we can find man, in his spiritual beauty, “in tune with the in linite.” In the Epistle to the Romans I’aul writes, “How beautiful are the feet of them that preach the gospel of peace and glad tidings of good things.” Aye, beautiful are the feet of the gos pel messengers, hut beautiful are the voices also, for today we find the sym bol of man’s thoughts in beautiful sym metry with God’s thoughts, in the sweet throat of a singing thrush, in the sighing of the winds among the leaves and in the harvest fields, in the meanings of the seas us well as in the colors of its waters and in all the strange yet harmonious voices of the woods, whether they be the calls of the cuckoo, which musicians declare sound the third note In music, or the shrill whistle of the bobwhite, which, like the voice of the fife, Is heard above every other Instrument of the band, or the croonings of the wood dove, which the California Indians used to call “majella,” whose song by day and by twilight both to mate and young was one continuous whispering of “Here, love! Love, here! Here, love! Love, here!” Oh, the beautiful voices of blending harmonies heard in the choruses of the woods! Who can ever listen to them and not find a symbol of man’s spiritual beauty? “In tune with the infinite!” “In Tune With the Infinite.” But what, according to the law of sound, do we mean by being “In tune with the Infinite?” I went hunting Borne time ago. As I lay In a dugout by a water hole, hidden by the leaves, waiting for the birds to come down to drink, I asked myself these questions: What Is music? Why Is it that all these voices of the woods have such a wonderful influence over me? Why does not the harsh cull of the fish monger hawking his food at my city door, or the deep voice of the fog horn on shipboard off the banka of Newfoundland, or the rasp of a saw, or the whining cry of a spoiled child, enchant me as now do the voice signal ings of the pheasants, which I can now see way off under yonder trees, or the chirp of the swallows flying over my head, or the beautiful sounds that come to my ear us the harpists of the winds finger the long, slender vines ind swells and dies away In ‘the choruses of many a great musical master. I know the rasp of a saw can become part of a lullaby or of a martial inarch. Then why are not these different sounds at all times pleasing to my ear?” In order to answer the questions I made a study of the laws of musical sound. Dudley Buck, the great Ameri can composer, taught me that “sweet i music was merely a succession of com- ’ lunations of sound arranged with such connection and mutual relations ns to express to the ear some distinct form or train of thought and awaken cer tain corresponding emotions.” lie told me that music is thought expressed in sound, even as a great painting Is thought expressed in color. A jumble of colors is a daub, not a picture. A riot of sounds, promiscuously pushing and jostling each other, even as the stronger limbed members of a stam peding mob knock down and trample upon the weaker, is merely a collection of discords, it is only when “multi tudes of sounds” are marshaled to gether in “harmonious unity” that we have music. So when I began to know what true music meant then I said to myself: “Yes, yes; I now know what Ralph Waldo Trine means when he speaks of man being *ln tune with the Infinite.’ ” Man In himself may be so distracted by sin as to be like a dis cord in music. His voice in nature may be so discordant by reason of his corrupt condition as to rend the ear as does the shrill cry of the vender on the street. But when his nature Is redeemed his voice falls Into its right place In the song of creation and of Moses and the lamb and becomes har monious and melodious. By the sweet voices of the woods blending in per petual harmonies can you not catch the meaning of my text when King Solomon declares God hath made and will continue to make, according to the laws of music, everything “beautiful in its time?” their appointed seasons.” For God “bath made everything beautiful In Its time.” This Is the keynote of Ghrto- tinnlty. Man In his sinful state la a monster of ugliness, a blemish on crea- come to man In the right way and at as though they were harp strings? I know that some of the repellent cries I have heard from the fishmonger Richard Wagner has reproduced in his matchless operas. I know the deep voice of the fog horn rolls and thunders Thought Expressed In Sound. The symmetries of straight lines and curves in sculpture and architecture also form analogies for man’s spiritual beauty. Wandering among the famous buildings of Europe, I find that, archi tecturally, a great building has a sym metrical unity, Just as a perfect statue is chiseled after the physical forma tions of a perfect man. Many years ago there was exhumed from the buried ruins of old Rome a marble leg, broken from off one of the statues of old. That broken fragment is still preserved in the Vatican. Michael An gelo, as a sculptor, used to study that leg by the day, the week, the month and the year, “because,” said the great Italian master, “I consider that piece of stone the most perfect formation of physical anatomy ever carved by the chisel of man.” Ho symmetrically per fect may the lines and the curves of a great group of statuary he that when you look at some of the best ex amples of sculpture in the Louvre, the Vatican or the British museum the figures almost seem as though their lungs are breathing and their lips are ready to speak. Now, the symmetrical laws observed In true sculpture are also found to ex- st in true architecture. A great build- »r like Christopher Wren did not start In to erect St. Paul's cathedral at hap hazard. Every part of the walls, the dome and the capstone were carefully and harmoniously designed and prop erly proportioned before one spadeful of dirt was dug out of the heart of mother earth to excavate the cellars of London’s architectural pride. And the wonderful part of the masterfully de signed buildings of Europe is how de ceptive they are as to their size when first seen by the human eye. When one set's the dome of St. Peter's at Rome lifting itself tow r ard the skies, or the spires of the Cologne cathedral like the uplifted forefinfcer of an ora tor pointing heavenward, or the roof of the Milan cathedral peopled with myriads of saints and apostles carved in stone, the lengths and the breadths and the heights of those structures rarely Impress the tourist at first. Why? Because all are in perfect sym metrical proportion. A truly great building is “multitudes of stones ar ranged in unity.” It Is thought ex pressed In stone, as a painting is thought expressed In colors, or as mu sic Is thought expressed In sound. Now, as true architecture is beautiful thought expressed In the curves and lines of the roof and the walls and the foundation stones of a building, I would go one step further In my sub ject. I would say to the designers of the great Episcopalian cathedral now being built in New York city: “Ob. architects, of what material are you building these walls? Where are to be found the mighty beams to hold up yonder roof?” Then these architects take me down Into the quarries, and amid the dust and the dirt I see the mighty rocks being hewed out. Then they take me to the foundries where the steel beams are being moldcHl. Then they take me out into the forests where the great tree trunks are being dragged to the sawmills. Then they say: “Oh, preacher, we are making this beautiful Cathedral of St. John the Divine out of such materials as these. All these rocks and steel Iteams and tree trunks, a multitude of different elements, shall blend together In beau tiful architectural unity.” Then I turn to the architects and say: “Oh, design ers, If you can make yonder stone beau tiful by placing It in symmetrical har mony with other stones, cannot my Lord and my Ood make redeemed man beautiful when he becomes part of the heavenly temple by onion with Jesus Christ? For 'I saw no temple therein, for the Lord God Almighty and the Lamb are the temple of It.’ As the apostle says, ‘Ye also as living stone* are built up a spiritual house.’ Is the one achievement from an earthly stand point any more wonderful than the second achievement from a heavenly standpoint?” Yes. I see today, by the beautiful in architecture, analogies that show that God Inis made and God is u »w milking aim will continue to make redeemed man beautiful in his time. Let us loiter for a little while In the “poets’ corner" of Westminster abbey. As we listen the sweet hards of the English language seem to lift their heads from their pillows of dust and begin to sing, and we find man's sjfir- itual beauty in the analogies of poetry as well as in painting and music and sculpture and architecture. For as painting is rhythm in color and music Is rhythm in sound and sculpture and architecture are rhythm iu stone, so poetry is rhythm in words. Aye, poetry is more than mere rhythm. An Eng lish writer once well said, “Poetry In the flower garden of human language Is the blossom and the fragrance of all human knowledge, human thoughts, human passions and emotions.” It is man's most transcendent hopes and no blest ambitions, with the highest peak of the Mount of Ascension for a foot stool. or It is man's wall of eternal despair when, as the results of his sins, he is heading toward a Dante’s “Inferno” or he Is compelled to join in the moans of a Milton’s “Paradise Lost” The Beauty of Words. But though poetry is rhythm In words, yet words themselves, ns In dividuals, are not poetry. Many years ago in the old village of Ayr, nigh un to the banks of the “Bonnie Doon,” I heard an old Scotchman recite “John Anderson. My Jo, John,” and other poems of the great lyric poet until the tears rained down his cheeks, and I thought those poems were the sweet est words ever composed by man. But the words Burns used in his poems, and William Shakespeare used in his poems, and Longfellow used In his poems, and Whittier and Holmes and Lowell and Bayard Taylor used In their poems, were for the most part only the simple words we use In ev eryday life by our own firesides. The beauty of these poets’ words are en tirely due to their juxtaposition with their surrounding words. The words which express our thoughts, our pas sions, on.' emotions, may not he beau tiful in themselves, but if they are brought into rhythm with God’s words they not only become poetry, but they become beautiful, for then our thoughts us words are in symmetry with God’s thoughts. But perhaps we have lingered al ready too. long among the artists and the musicians and the sculptors and the architects and the poets to find man’s spiritual beauty Tiy being in symmetry with God’s thoughts. Per haps after all we can clinch the truth | of our text best by a short running comment upon a few of the verses which precede the words, “He hath made everything beautiful In Its time.” God says that man Is beautiful when he horn. Oh, yes. That means when man is born for Christ. But is man beautiful when lie Is horn for sin? Come with me, and I will show you Robespierre gleefully sharpening the ax of his guillotine. I will show you an Indian demon just for fun torturing a victim at the stake whose scalp will soon he hanging at the warrior’s belt. 1 will show you men who for the price of a drink are ready to sell their sons and daughters into a life of crime. Can Or. D. P. THOMSON, Dentist. Over Cherokee Drug Co. Phone 55. at the same place, No. 3?i Rutledge St. I am ready to do your work O. K. New build ing, 2,400 feet floor space; general repair, from forge to last coat of paint. Wagons, buggies, carts, &c; any part repaired or new part put in. Tire setting a specialty. Good stalls and water for your stock. I am here to serve you. W. T. Thompson. oy Is the most magnificent restaurant in Spartanburg The Savoy is the successor to the Pied mont, but is umlt-r new management and will be run in metropolitan style, open day and night and catering only to the best element and guaranteeing satisfac tion to all. It is a high class restaurant for ladies and gentlemen, and it is the purpose of the management to deserve a liberal patronage by dealing liberally with its patrons. Call on us when in the city. Respectfully, G. E. WHEELER, Proprietor Aui?. 21,1 mo r Worth Receiving Worth Giving A box of our Confectionery is the right thing to take along for an evening call. It’s a sweet basis for conversation. All grades Domestic and Imported Candies, at wholesale and retail. Special on Bananas-—10 and 15 Cents a Dozen. S. R. Suiloer’ Next door to Postoffice. The Builders Supply Co. Successors to L. Baker. Will furnish you Building Material of the best that the markets afford and at the lowest living prices. No. 1 heart pine Shingles and Laths, and Devo’s cele brated Paints—guaranteed to go further and last longer than any other in the market. When in need of anything in the building line, call and see us; we’ll treat you courteously and mate your es timates for nothing. B a It e r% Vice-President and Manager. Very Little need be about our said Photographs t o those who have seen them. Their beauty and fine finish lift them high above the work of the ordinary photo grapher. We can make an artistic picture of anyone. Every individual has some feature or expressionwhich makes him at tractive. We find this and catch it with the camera. n. June H. Carr C»or Phone 176. Residence, 171. 625 Limestone Street, The Penalty may be death, if you neglect yourKIDNEYS You should keep watch 011 them and if you feel the slightest symp tom of any trouble that could be traced to them “nip it in the hud” with HOT SPRINGS / .1DNEY AND BLAD- Ker CURE. This wonderful prepa ration positively cures all Kidney, Liver and Bladder diseases. It cures after all others have failed. 50c a bot tle. For sale by. S.B. Crawley & Co. 813 Limestone St. Drugs, Perfumes and Stationery Prescriptions Properly Filled and Promptly Delivered you see any beauty in the birth of a demoniac Frankenstein? There is a “time to die,” which is beautiful. Death, if it comes in God’s | way. Is beautiful, for then a dying i saint knows death Is ijot annihilation, ; hut coronation, irradiation and eternal triumph. Like old Senator Foote, : when dying he can look at the raptur- ; ous glories ahead and cry: “Beautl- 1 ful! Beautiful! Beautiful!” But was the death of Nero beautiful? Was the death of Cleopatra beautiful? Was the death of Thomas Paine beautiful— one moment in prayer, the next mo- I ment blaspheming God, until his rela tions, In horror, placed tlieir fingers j in their ears and ran from his howling i blasphemous agonies? The Redemption of John. Are you and I ready to become part of God’s beautiful creation? Are we ready to become lieuutiful in ourselves by becoming beautiful In him? Even the lowest and vilest, saved by his grace and redeemed by his blood, can become a true part of Christ’s beauti ful life. Many years ago when the yellow fever plague was raging In Memphis, Te.nn., a rough looking man applied to the city relief committee and said, “I wish to nurse.” It was at a time when most people who could were fleeing from the stricken and des olated homes. The death carts seemed to he going everywhere. At first the physician declined the rough man’s services, but as he could get no one else to do the work tills man was sent to one of the most filthy and danger ous wards of the city. Wherever he went he was a messenger of love. He would not tell his name; he said sim ply, “Call me John." Time passed on. and after awhile John, whose name was now famous through the city, sickened and died. While his body was being prepared for an unmarked grave, suddenly upon his arm was found a livid murk, which proved that John was an ex-coovlct. John hud been one of the must dangerous criminals of all the south. Once be was a mur derer, but now, through the blood of Jesus, he became a ministering angel. Once he was horrible in his depraved malformation. Now he was made beau tiful by bringing his life in sym metrical touch with Jesus’ life. My friends, will you not let Christ fill you with his spiritual beauty? Will you not only In the future be spiritu ally beautiful, but beautiful now in your present life? Will you not be come transformed as was John, the redeemed nurse, laboring for his Mas ter In plague stricken Memphis? [Copyright, 1004. by Louis Klopach.l CUT PRICES. I have “knifed” the prices on all Slippers, Straw Hats and summer Dress Goods. Now is your time to get Slippers and Straw Hats for less than whole sale price. My entire line of summer goods, consisting of Lawns, India Linens, Batistes, Organdies, Dotted Swiss, Dimities and VVLite Waistings in lace-stripe effects will be sold at cost for cash—no goods charg ed in this sale. I will also close out a lot of Ladies Summer Under vests at greatly reduced prices during this sale. We will offer a big lot of youths’, boys’and chil dren’s Suits at cost for the next few days. Bring the little gents around and let us fit them up in a nice suit for a little money. We will also offer a few men’s two-piece Suits at cost to close out. We have had a very flattering trade on Negligee Shirts and Gent’s Fnrnishings generally but still have a nice assortment to select from. See us be fore buying your shirts. Good Flour from $2.00 to $2.60 per 100—every sack guaranteed. One and two two quart Fruit Jars at prices that can’t be beat. If you are looking for goods at money-saving prices go to my store at Goforth’s, S. C., or come to my store iu the city. Yours for trade, J. I. SA PRTTT This Bank Pays Four Per Cent On All Deposits. Gaffney Savings Bank. Capital Stock Paid In Thirty Thousand Dollars. D. C. Ross, Prest. J. Q. Little, ]. A. Cakkoll, B. L. Hames, G. Wardlaw. Vice-P. Directors. J. N. Lipscomb, R. M. Wilkins, W. C. Carpenter, D. C. Ross. Maynard Smyth, Cashier. William Jkpfkrirs, J. G. Wardlaw, O. E. Wilkins,