nature dressed up for them, and had had their taste so corrupted by a certain kind of lyricism that they had lost the power of distinguishing between truth and artificiality. Even those who might have noticed it were so astonished and delighted at being shown Jesus in the Galilaean landscape that they were content to yield to the enchantment.
Along with this artificial feeling for nature a good many other things were accepted without question. There is scarcely any other work on the subject which so abounds in lapses of taste�and those of the most distressing kind�as Renan's Vie de Jesus. It is Christian art in the worst sense of the term�the art of the wax image. The gentle Jesus, the beautiful Mary, the fair Galilaeans who formed the retinue of the "amiable carpenter," might have been taken over in a body from the shop-window of an ecclesiastical art emporium in the Place St. Sulpice. Nevertheless, there is something magical about the work. It offends and yet it attracts. It will never be quite forgotten, nor is it ever likely to be surpassed in its own line, for nature is not prodigal of masters of style, and rarely is a book so directly born of enthusiasm as that which Renan planned among the Galilaean hills.
The essay on the sources of the Life of Jesus with which it opens is itself a literary masterpiece. With a kind of effortless ease he makes his readers acquainted with the criticism of Strauss, of Baur, of Reuss, of Colani. He does not argue, but simply sets the result vividly before the reader, who finds himself at once at home in the new world of ideas. He avoids any hard or glaring effects; by means of that skilful transition from point to point which Wagner in one of his letters praises as the highest art, everything is surrounded with atmosphere. But how much trickery and illusion there is in this art! In a few strokes he indicates the relation of John to the Synoptists; the dilemma is made clear, it seems as if one horn or the other must be chosen. Then he begins by artful touches to soften down the contrast. The discourses of John are not authentic; the historical Jesus cannot have spoken thus. But what about the statements of fact? Here Renan declares himself convinced by the graphic presentment of the passion story. Touches like "it was night," "they had lighted a fire of coals," "the coat was without seam," cannot have been invented. Therefore the Gospel must in some way go back to the disciple whom Jesus loved. It is possible, nay certain, that when as an old man he read the other Gospels, he was displeased by certain inaccuracies, and perhaps vexed that he was given so small a place in the history. He began to dictate a number of things which he had better means of knowing than the others; partly, too, with the purpose of showing that in many cases where Peter only had been mentioned he also had played a part, and indeed the principal part.
