42 THE SEVEN LAMPS OF ARCHITECTURE

§ 9. While, however, I would especially deprecate the imputation of any other acceptableness or usefulness to the gift itself than that which it receives from the spirit of its presentation, it may be well to observe, that there is a lower advantage which never fails to accompany a dutiful observance of any right abstract principle. While the first fruits of his possessions were required from the Israelite as a testimony of fidelity, the payment of those first fruits was nevertheless rewarded, and that connectedly and specifically, by the increase of those possessions. Wealth, and length of days, and peace,¹ were the promised and experienced rewards of his offering, though they were not to be the objects of it. The tithe paid into the storehouse, was the express condition of the blessing which there should not be room enough to receive. And it will be thus always: God never forgets any work or labour of love; and whatever it may be of which the first and best portions or powers have been presented to Him, He will multiply and increase sevenfold. Therefore, though

behind the altars by the erection of huge gilded wooden sunbeams, with interspersed cherubs.”

The MS. adds:-

“painted red and white. And for the pageantry of Romanism which is said to have so overwhelming an effect upon the faith of many, the chief impression it has always produced on me has been that of wonder that, considering how much depended on it, it should be so marvellously ill-managed for effect.”

In the MS. the passage, “in the gildings ... gems,” ran “in the gilded doll and painted puppet, in the faded riband and dingy lace, in the theatrical robe and imitated jewel,” while the earlier portion of the note is as follows:-

“While I admit it to be a question whether art has ever promoted true religion, I have a right to oppose the idea of its having been made efficient in the advancement of abstract Romanism. I am surprised at its not being more frequently observed that real art is of no service to the Romanist. Give him the best and most precious picture in the world, and though he will indeed use it as a piece of furniture behind his candles, and smoke the top of it and drop wax over the bottom of it, yet, as an idol, or even as an historic representation, it is of no use to him whatever until he has cut a hole in it, and put real pewter crowns on the heads of all the saints in it. Give him a Pieta by Michael Angelo, and he will put it in a niche out of the way where it will never be seen; a group of wooden images from the established makers with real lace dresses on them, and highly painted, is what he wants for practical purposes. The noble painted windows of the east end of St. Maclou, St. Vincent, St. Patrice, and other churches in Rouen are concealed behind gilded wooden carvings from twenty to thirty feet across, representing square rays of the sun of the size of oar blades, piercing volumes of smoke, with bunches of suspended cherubs.”]

¹ [Proverbs iii. 16. Cf. A Joy for Ever, § 120.]

[Version 0.04: March 2008]