[Footnote 10:  Comp.  Biese, op. cit.]

[Footnote 11:  Deutsche Rundschau, 1879.]

[Footnote 12:  Comp.  Biese, op. cit.]

[Footnote 13:  Chrysostom was not only utilitarian, but praised and enjoyed the world’s beauty.  From the fifth to third century, Greek progress in feeling for Nature can be traced from unconscious to conscious pleasure in her beauty.]

[Footnote 14:  De Mortalitate, cap. 4.]

[Footnote 15:  Geschichte der christlich-lateinischen Literatur.]

[Footnote 16:  When one thinks of Sappho, Simonides, Theocritus, Meleager, Catullus, Ovid, and Horace, it cannot be denied that this is true of Greek and Roman lyric.]

[Footnote 17:  As in the Homeric time, when each sphere of Nature was held to be subject to and under the influence of its special deity.  But it cannot be admitted that metaphor was freer and bolder in the hymns; on the contrary, it was very limited and monotonous.]

[Footnote 18:  In Cathemerinon.]

[Footnote 19:  Comp. fragrant gardens of Paradise, Hymn 3.

In Hamartigenia he says that the evil and ugly in Nature originates in the devil.]

[Footnote 20:  Ebert.]

[Footnote 21:  The Robinsonade of the hermit Bonosus upon a rocky island is interesting.]

[Footnote 22:  Comp.  Biese, op. cit.]

[Footnote 23:  Comp. ad Paulinum, epist. 19, Monum.  German. v. 2.]

[Footnote 24:  Carm. nat. 7.]

[Footnote 25:  Ep. xi.]

[Footnote 26:  Migne Patrol 60.]

[Footnote 27:  Migne Patrol 59.]

[Footnote 28:  Ebert.]

[Footnote 29:  Comp.  Biese, op. cit.]

[Footnote 30:  Comp.  Biese, op. cit.]

[Footnote 31:  Migne Patrol 58.]

[Footnote 32:  Carm. lib. i.]

[Footnote 33:  Amoenitas loci:  Variorum libri Lugduni, 1677.]

[Footnote 34:  Monum.  Germ., 4th ed., Leo, lib. viii.]

[Footnote 35:  Deutsche Rundschau, 1882.]

[Footnote 36:  Monum.  German Histor., poet. lat. medii aevi, I. Berlin 1881, ed.  Duemmler.  Alcuin, Carmen 23.]

[Footnote 37:  Zoeckler, Geschichte der Beziehungen zwischen Theologie und Naturwissenschaft.  ’On rocky crags by the sea, on shores fringed by oak or beech woods, in the shady depths of forests, on towering mountain tops, or on the banks of great rivers, one sees the ruins or the still inhabited buildings which once served as the dwellings of the monks who, with the cross as their only weapon, were the pioneers of our modern culture.  Their flight from the life of traffic and bustle in the larger towns was by no means a flight from the beauties of Nature.’  The last statement is only partly true.  In the prime of the monastic era the beauties of Nature were held to be a snare of the devil.  Still, in choosing a site, beauty of position was constantly referred to as an auxiliary motive.  ’Bernhard loved the valley,’ ‘but Bernhard chose mountains,’ are significant phrases.]