Chapter XCVI: Section LVIII: The more I have examined the subject the more dangerous I

have found it to dogmatize respecting the character of the art which is likely, at a given period, to be most useful to the cause of religion. One great fact first meets me. I cannot answer for the experience of others, but I never yet met with a Christian whose heart was thoroughly set upon the world to come, and, so far as human judgment could pronounce, perfect and right before God, who cared about art at all. I have known several very noble Christian men who loved it intensely, but in them there was always traceable some entanglement of the thoughts with the matters of this world, causing them to fall into strange distresses and doubts, and often leading them into what they themselves would confess to be errors in understanding, or even failures in duty. I do not say that these men may not, many of them, be in very deed nobler than those whose conduct is more consistent; they may be more tender in the tone of all their feelings, and farther-sighted in soul, and for that very reason exposed to greater trials and fears, than those whose hardier frame and naturally narrower vision enable them with less effort to give their hands to God and walk with Him. But still, the general fact is indeed so, that I have never known a man who seemed altogether right and calm in faith, who seriously cared about art; and when casually moved by it, it is quite impossible to say beforehand by what class of art this impression will on such men be made. Very often it is by a theatrical commonplace, more frequently still by false sentiment. I believe that the four painters who have had, and still have, the most influence, such as it is, on the ordinary Protestant Christian mind, are Carlo Dolci, Guercino, Benjamin West, and John Martin. Raphael, much as he is talked about, is, I believe in very fact, rarely looked at by religious people; much less his master, or any of the truly great religious men of old. But a smooth Magdalen of Carlo Dolci with a tear on each cheek, or a Guercino Christ or St. John, or a Scripture illustration of West's, or a black cloud with a flash of lightning in it of Martin's, rarely rails of being verily, often deeply, felt for the time.