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mind of Europe, is certainly not deserving of consideration as one of the fine arts. It matters literally nothing to a Romanist what the image he worships is like. Take the vilest doll that is screwed together in a cheap toy-shop, trust it to the keeping of a large family of children let it be beaten about the house by them till it is reduced to a shapeless block, then dress it in a satin frock and declare it to have fallen from heaven, and it will satisfactorily answer all Romanist purposes. Idolatry,* it cannot be too often repeated, is no encourager of the fine arts. But, on the other hand, the highest branches of the fine arts are no encouragers either of idolatry or of religion. No picture of Leonardo’s or Raphael’s, no statue of Michael Angelo’s, has ever been worshipped, except by accident. Carelessly regarded, and by ignorant persons, there is less to attract in them than in commoner works. Carefully regarded, and by intelligent persons, they instantly divert the mind from their subject to their art, so that admiration takes the place of devotion. I do not say that the Madonna di S. Sisto, the Madonna del Cardellino,¹ and such others, have not had considerable religious influence on certain minds, but I say that on the mass of the people of Europe they have had none whatever; while by far the greater number of the most celebrated statues and pictures are never regarded with any other feelings than those of admiration of human beauty, or reverence for human skill. Effective religious art, therefore, has always lain, and I believe must always lie, between the two extremes-of barbarous idol-fashioning on one side, and magnificent craftsmanship on the other. It consists partly in missal-painting, and such book-illustrations as, since the invention of printing, have taken its place; partly in glass-painting; partly in rude sculpture on the outsides of buildings; partly in mosaics; and partly in the frescoes and tempera pictures which, in the fourteenth century, formed the link between this powerful, because

* Appendix 10: “Proper Sense of the word Idolatry” [p. 450].

¹ [For the Madonna di S. Sisto, see Vol. III. p. 13 n., Vol. IV. pp. 127, 369; for the Madonna del Cardellino, Vol. IV. p. 85.]

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