And now, in a very few words, I must speak of The Auditory Wherein The Master will Render His Great Masterpiece: "In the midst of the church will I sing praise unto Thee."

There may be a confusion of metaphor, but there is no contradiction of fact, when, having spoken of the church as the mouthpiece of the Singer of the text, I now speak of the church as being at once the auditorium and the audience, in which, and to whom, He sings the praise of God.

There is a remarkable verse in the Psalm of our text: "But Thou art holy, O Thou that inhabitest the praises of Israel." That is to say, God dwell in a temple of praise. I told you that the difference between sound and light is a difference of vibration. There is a harmony of colour, of shape and relation, as there is a harmony of sound. There is music in a landscape; music may be written, though silent, in a piece of statuary; there is harmony in architectural design and proportion. And the Musician of whom I sing is the Architect of the great building in which God is to be praised. His organ was made for the building, and the building for the organ, and all for God's praise. As the architecture of many of the old cathedrals gives musical effect to every vibration, and sends the singer's voice ringing through the nave, playing about in the vaulted roof, echoing in every corner, and trembling away into silence down the long adjoining cloisters; so every tone in the great spiritual auditory where the Master plays land sings, is designed, by its relation to Him, and to every other part of the building, to give effect to His music.

Stones brought from far quarries, of different strata and texture, and each polished after the similitude of a palace; the giant cedar, and the bruised reed; gold from deep mines and from foul streams, refined in fierce fires; and draperies of divers colour, woven in strange looms, of seemingly tangled threads these are some of the materials of which the Master will rear and furnish and auditory of praise, which shall stand a perpetual monument of spiritual architectural sublimity, reverberant with music of whose glorious theme it is itself the sublime articulation. There every thought of worship shall find its sweetly answering echo every whisper of love, every song of adoration, in the proportion and acoustics of that great auditory shall find fullest and meetest expression.

And while every stop in the grand organ of creation peals forth its tribute and worlds untouched by grace because unspoiled by transgression, and spirits unwashed by blood because unstained by sin, unite to swell the chorus of praise: in this great auditory, "in the midst of the church," shall rise the song of songs, the Master's masterpiece, the highest hallelujah, the chorus obbligato, rising, ringing, loud and clear above the universal music; "Unto Him that loved us and washed us from our sins in His own blood, and hath made us kings and priests unto God and His Father: to Him be glory and dominion, for ever and ever. Amen."