we can with some caution speak of "Catholic art" in music,
architecture, and painting, so far, that is, as we can determine the
extent and nature of the Church's action, and therefore the tendency of
her influence in the way of stimulus and restraint with regard to
subject and treatment. We do not unjustly discern an author's style as a
personal element distinct from the language and phraseology of which no
item is his own. The manner in which he uses that language, his
selections and refusals make, in union with the borrowed elements, a
tongue that may be called his, in an exclusive sense. The Church, too,
has her style, which, though difficult to discern amid her use of a
Pentecostal variety of languages, is no doubt always the same--at least
in tendency.

Salvation-Army worship is certainly not of the Church's style, but I do
not think, were there no absolute irreverence and scandal to be feared,
that she would hesitate to use such a language, were it the only one
understood by such a people. St. Francis Xavier's "catechisms" were
often hardly less uncouth. Still, her whole tendency would be towards
restraint, order, and exterior reverence. Again, the stoical coldness
and formalism of a liturgical worship, centered round no soul-stirring
mystery of Divine love where there can be feeling so strong as to need
the restraint of liturgy and ritual, has still less of the Church's
style about it. For she is human, not merely in her reason and
self-restraint, but in the fulness of her passion and enthusiasm; and
restraint is only beautiful and needful where there is something to
restrain.

We are now in a position to consider the surface objection that will
present itself to many a reader concerning Durtal's conversion. "He has
been converted," it will be said, "by a fallacy. He has identified the
Catholic religion with the cause of plain-chaunt and Gothic
architecture, and of all that is, or that he considers to be, best in
art. He has laid hold not of Catholicism, but of its merest accessories,
which it might shake off any day, and him along with them. Indeed, he
scarcely makes any pretence at being in sympathy with the Catholicism of
to-day, which he regards as almost entirely philistine and degenerate,
if we except La Trappe and Solesmes and a few other corners where the
old observances linger on. 'It was so ugly, so painfully adorned with
images, that only by shutting his eyes could Durtal endure to remain in
Notre D