ts to Christianity with joy,
enthusiasm, and hope,--yea, more than this, even boundless love that
salvation was the gift of God through the self-sacrifice of Christ.
Immortality was brought to light by the gospel alone, and to miserable
people the idea of eternal bliss after the trials of mortal life were
passed was the source of immeasurable joy. No sooner was this sublime
expectation of happiness planted firmly in the minds of pagans, than
they threw their idols to the moles and the bats.

But even in regard to morality, Augustine showed that the gods were no
examples to follow. He ridicules their morals and their offices as
severely as he points out their impotency to bestow happiness. He shows
the absurdity and inconsistency of tolerating players in their
delineation of the vices and follies of deities for the amusement of the
people in the theatre, while the priests performed the same obscenities
as religious rites in the temples which were upheld by the State; so
that philosophers like Varro could pour contempt on players with
impunity, while he dared not ridicule priests for doing in the temples
the same things. No wonder that the popular religion at last was held in
contempt by philosophers, since it was not only impotent to save, but
did not stimulate to ordinary morality, to virtue, or to lofty
sentiments. A religion which was held sacred in one place and ridiculed
in another, before the eyes of the same people, could not in the end but
yield to what was better.

If we ascribe to the poets the creation of the elaborate mythology of
the Greeks,--that is, a system of gods made by men, rather than men made
by gods,--whether as symbols or objects of worship, whether the religion
was pantheistic or idolatrous, we find that artists even surpassed the
poets in their conceptions of divine power, goodness, and beauty, and
thus riveted the chains which the poets forged.

The temple of Zeus at Olympia in Elis, where the intellect and the
culture of Greece assembled every four years to witness the games
instituted in honor of the Father of the gods, was itself calculated to
impose on the senses of the worshippers by its grandeur and beauty. The
image of the god himself, sixty feet high, made of ivory, gold, and gems
by the greatest of all the sculptors of antiquity, must have impressed
spectators with ideas of strength and majesty even more than any
poetical descriptions could do. If it was art which the Greeks
worship