The world had
changed around him. The New-catholicism had taken the place of the
Renaissance. The spirit of the Roman Church had changed: in the vast
world's cathedral which his skill had helped to raise for it, it looked
stronger than ever. Some of the first members of the Oratory were among
his intimate associates. They were of a spirit as unlike as possible
from that of Lorenzo, or Savonarola even. The opposition of the
Reformation to art has been often enlarged upon; far greater was that of
the Catholic revival. But in thus fixing itself in a frozen orthodoxy,
the Roman Catholic Church has passed beyond him, and he was a stranger
to it. In earlier days, when its beliefs had been in a fluid state, he
too might have been drawn into the controversy; he might have been for
spiritualising the papal sovereignty, like Savonarola; or for adjusting
the dreams of Plato and Homer with the words of Christ, like Pico of
Mirandola. But things had moved onward, and such adjustments were no
longer possible. For himself, he had long since fallen back on that
divine ideal, which above the wear and tear of creeds has been forming
itself for ages as the possession of nobler souls.
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