St. Augustine of Hippo (354-430) was one of the most prolific geniuses that humanity has ever known, and is admired not only for the number of his works, but also for the variety of subjects, which traverse the whole realm of thought. The form in which he casts his work exercises a very powerful attraction on the reader. Bardenhewer praises his extraordinary suppleness of expression and his marvellous gift of describing interior things, of painting the various states of the soul and the facts of the spiritual world. His latinity bears the stamp of his age. In general, his style is noble and chaste; but, says the same author, "in his sermons and other popular writings he purposely drops to the language of the people." A detailed analysis is impossible here. We shall merely indicate his principal writings and the date (often approximate) of their composition. Augustine in the "De Doctrin#65533; Christian#65533;" (begun in 397 and ended in 426) gives us a genuine treatise of exegesis, historically the first (for St. Jerome wrote rather as a controversialist). Several times he attempted a commentary on Genesis. The great work "De Genesi ad litteram" was composed from 401 to 415. The "Enarrationes in Psalmos" are a masterpiece of popular eloquence, with a swing and a warmth to them which are inimitable. On the New Testament: the "De Sermone Dei in Monte" (during his priestly ministry) is especially noteworthy; "De Consensu Evangelistarum" (Harmony of the Gospels - 400); Homilies on St. John (416), generally classed among the chief works of Augustine; the Exposition of the Epistle to the Galatians" (324), etc. The most remarkable of his Biblical works illustrate either a theory of exegesis (one generally approved) which delights in finding mystical or allegorical interpretations, or the style of preaching which is founded on that view. His strictly exegetical work is far from equalling in scientific value that of St. Jerome. His knowledge of the Biblical languages was insufficient: he read Greek with difficulty; as for Hebrew, all that we can gather from the studies of Schanz and Rottmanner is that he was familiar with Punic, a language allied to Hebrew. Moreover, the two grand qualities of his genius - ardent feeling and prodigious subtlety - carried him sway into interpretations that were violent or more ingenious than solid.