is not Raphaelesque, but more allied to early Gothic; the
manner is graceful but feeble. The scheme embodies types in the Old
Testament with their fulfilment in the New; both conjoined are brought
to bear on the teachings of the Church concerning the Sacraments. Some
of the analogies may appear, at least to outsiders, rather fanciful and
far-fetched. Yet, the mystic meanings thrown around the singularly
lovely composition of _Matrimony_ satisfy at least the poetic sense. The
artist explains how in the frieze is seen the union of Christ with the
Church--the heavenly architype of marriage--celebrated by a choir of
angels. The predella presents a symbol from the Old Testament in Tobias,
who, under divine guidance, obtains a companion for life. One
side-border exemplifies the first institution of matrimony in Paradise;
angels above, in embrace, are scattering flowers. On the opposite side
an angel showers down thorns, and on the ground beneath lies the dead
Saviour, signifying that marriage through suffering obtains its
consecration. The painter ends with the closing prayer that "these seven
Psalms which I have sounded on my harp may exhibit the teaching of the
Church in its beauty and sublimity, and thus do honour to God, to whom
alone are due glory and praise in time and in eternity. Amen."

Neither _The Seven Sacraments_ as works of art, nor the printed notes
thereto as treatises in theology, have been accepted by the world
favourably. Even within the Roman Catholic Church they are deemed rather
ultra; unfortunately the painter could not see when and where his art
became an outrage on the common sense of mankind. His treatment of _Holy
Communion_ in these _Sacraments_, as well as in sundry other designs, is
an instance of the way in which he pushed full far his sacerdotalism. He
habitually departs from the treatment sanctioned by the great masters,
from Giotto to Leonardo da Vinci; in place of a long table whereat all
are seated is a small altar, before which the Apostles kneel; in lieu of
a supper, the cloth is laid with only a plate and chalice, and instead
of the breaking of bread among the disciples, Christ stands apart
elevating a wafer. Now, all religious controversy aside, most minds will
feel that, by thus substituting a fiction for a recorded fact, the
subject is spoilt in point of art. And herein I cannot but recall a
saying of Coleridge to the effect that he who begins by loving his Creed
more than Christianit