of something institutional and complex, majestic in the hierarchic interrelatedness of its parts, with authority descending from stage to stage, and at every stage objects for adjectives of mystery and splendor, derived in the last resort from the Godhead who is the fountain and culmination of the system. One feels then as if in presence of some vast incrusted work of jewelry or architecture; one hears the multitudinous liturgical appeal; one gets the honorific vibration coming from every quarter. Compared with such a noble complexity, in which asscending and descending movements seem in no way to jar upon stability, in which no single item, however humble, is insignificant, because so many august institutions hold it in its place, how flat does evangelical Protestantism appear, how bare the atmosphere of those isolated religious lives whose boast it is that "man in the bush with God may meet."[1] What a pulverization and leveling of what a gloriously piled-up structure! To an imagination used to the perspectives of dignity and glory, the naked gospel scheme seems to offer an almshouse for a palace.
It is much like the patriotic sentiment of those brought up in ancient empires. How many emotions must be frustrated of their object, when one gives up the titles of dignity, the crimson lights and blare of brass, the gold embroidery, the plumed troops, the fear and trembling, and puts up with a president in a black coat who shakes hands with you, and comes, it may be, from a 'home' upon a veldt or prairie with one sitting-room and a Bible on its centre-table. It pauperizes the monarchical imagination!
The strength of these æsthetic sentiments makes it
- ↑ In Newman's Lectures on Justification, Lecture VIII. § 6, there is a splendid passage expressive of this æsthetic way of feeling the Christian scheme. It is unfortunately too long to quote.
