ns, however conscientious and individually charitable
statesmen may be; while the Church gives for the Love of God, and
the Love of God never yet destroyed any man's self-respect. Well,
you know the end. The Church came forward once more and, under
certain conditions, offered to relieve the State of the entire
burden. Two results followed--first, all grievances vanished; and
secondly, the whole pauper population of England within ten years
was Catholic in sympathies. And yet all this is only a reversion
to medieval times--a reversion made absolutely necessary by the
failure of every attempt to supplant Divine methods by human.

"Now look at it all in another way--the general situation, I mean.

"The Socialist saw plainly the rights of the Society; the
Anarchist saw the rights of the Individual. How therefore were
these to be reconciled? The Church stepped in at that crucial
point and answered, By the Family--whether domestic or
Religious. For in the Family you have both claims recognized:
there is authority and yet there is liberty. For the union of
the Family lies in Love; and _Love is the only reconciliation of
authority and liberty_.

"Now, as I have put it--and as we all now see it--the argument is
simplicity itself. But it took a long time to be recognized; and
it was not until after the appalling events of the first twenty
years of the century, and the discrediting of the absurd
Socialistic attempt to preach the Law of Love by methods of Force,
that civilization as a whole saw the point. Yet for all that it
was beginning to mould popular opinion even as early as 1910.

"Turn now to a completely different plane. Turn to Art. This,
too, drove men back to the Church."

(Mr. Manners' air was becoming now less professional and more vivid.
He glanced quickly from face to face with a kind of sharp triumph;
his long, thin hands waved a slight gesture now and again.)

"Art, you remember, in the end of the Victorian era had attempted
to become realistic--had attempted, that is, the absurdly
impossible; and photography exposed the absurdity, For no man can
be truly a realist, since it is literally impossible to paint or
to describe all that the eye sees. When photography became
general, this began to be understood; since it was soon seen that
the only photographer who could lay any claim to artistic work
was the man who selected and altered and posed--arranged his
subject, that is to say, in more or less symbolic for