John Lord
Beacon Lights of History, Volume 06: Renaissance and Reformation
Truly was St. Peter's Church the last great achievement of the popes, the crowning demonstration of their temporal dominion; suggestive of their wealth and power, a marble history of pride and pomp, a fitting emblem of that worship which appeals to sense rather than to God. And singular it was, when the great artist reared that gigantic pile, even though it symbolized the cross, he really gave a vital wound to that cause to which he consecrated his noblest energies; for its lofty dome could not be completed without the contributions of Christendom, and those contributions could not be made without an appeal to false principles which entered into Mediaeval Catholicism,–even penance and self-expiation, which stirred the holy indignation of a man who knew and declared on what different ground justification should be based. Thus was Luther, in one sense, called into action by the labors of Michael Angelo; thus was the erection of St. Peter's Church overruled in the preaching of reformers, who would show that the money obtained by the sale of indulgences for sin could never purchase an acceptable offering to God, even though the monument were filled with Christian emblems, and consecrated by those prayers and anthems which had been the life of blessed saints and martyrs for more than a thousand years.
St. Peter's is not Gothic, it is a restoration of the Greek; it belongs to what artists call the Renaissance,–a style of architecture marked by a return to the classical models of antiquity. Michael Angelo brought back to civilization the old ideas of Grecian grace and Roman majesty,–typical of the original inspirations of the men who lived in the quiet admiration of eternal beauty and grace; the men who built the Parthenon, and who shaped pillars and capitals and entablatures in the severest proportions, and fitted them with ornaments drawn from the living world,–plants and animals, especially images of God's highest work, even of man; and of man not worn and macerated and dismal and monstrous, but of man when most resplendent in the perfections of the primeval strength and beauty. He returned to a style which classical antiquity carried to great perfection, but which had been neglected by the new Teutonic nations.
Nor is there evidence that Michael Angelo disdained the creations especially seen in those Gothic monuments which are still the objects of our admiration. Who does not admire the church architecture of the Middle Ages? Of its kind it has never been surpassed. Geometry and art–the true and the beautiful–meet. Nothing ever erected by the hand of man surpasses the more famous cathedrals of the twelfth and thirteenth centuries, in the richness and variety of their symbolic decorations. They typify the great ideas of Christianity; they inspire feelings of awe and reverence; they are astonishing structures, in their magnitude and in their effect. Monuments are they of religious zeal and poetical inspiration,–the creations of great artists, although we scarcely know their names; adapted to the uses designed; the expression of consecrated sentiments; the marble history of the ages in which they were erected,–now heavy and sombre when society was enslaved and mournful; and then cheerful and lofty when Christianity was joyful and triumphant. Who ever was satisfied in contemplating the diversified wonders of those venerable structures? Who would lose the impression which almost overwhelmed the mind when York minster, or Cologne, or Milan, or Amiens was first beheld, with their lofty spires and towers, their sculptured pinnacles, their flying buttresses, their vaulted roofs, their long arcades, their purple windows, their holy altars, their symbolic carvings, their majestic outlines, their grand proportions!
But beautiful, imposing, poetical, and venerable as are these hoary piles, they are not the all in all of art. Suppose all the buildings of Europe the last four hundred years had been modelled from these churches, how gloomy would be our streets, how dark and dingy our shops, how dismal our dwellings, how inconvenient our hotels! A new style was needed, at least as a supplement of the old,–as lances and shields were giving place to fire-arms, and the line and the plummet for the mariner's compass; as a new civilization was creating new wants and developing the material necessities of man.
So Michael Angelo arose, and revived the imperishable models of the classical ages,–to be applied not merely to churches but to palaces, civic halls, theatres, libraries, museums, banks,–all of which have mundane purposes. The material world had need of conveniences, as much as the Mediaeval age had need of shrines. Humanity was to be developed as well as the Deity to be worshipped. The artist took the broadest views, looking upon Gothic architecture as but one division of art,–even as truth is greater than any system, and Christianity wider than any sect. O, how this Shakspeare of art would have smiled on the vague and transcendental panegyrics of Michelet or Ruskin, and other sentimental admirers of an age which never can return! And how he might have laughed at some modern enthusiasts, who trace religion to the disposition of stones and arches, forgetting that religion is an inspiration which comes from God, and never from the work of man's hands, which can be only a form of idolatry.
Michael Angelo found that the ornamentations of the ancient temples were as rich and varied as those of Mediaeval churches. Mouldings were discovered of incomparable elegance; the figures on entablatures were found to be chiselled accurately from nature; the pillars were of matchless proportions, the capitals of graceful curvatures. He saw beauty in the horizontal lines of the Parthenon, as much as in the vertical lines of Cologne. He would not pull down the venerable monuments of religious zeal, but he would add to them. "Because the pointed arch was sacred, he would not despise the humble office of the lintel." And in southern climates especially there was no need of those steep Gothic roofs which were intended to prevent a great weight of rain and snow, and where the graceful portico of the Greeks was more appropriate than the heavy tower of the Lombards. He would seize on everything that the genius of past ages had indorsed, even as Christianity itself appropriates everything human,–science, art, music, poetry, eloquence, literature,–sanctifies it, and dedicates it to the Lord; not for the pride of priests, but for the improvement of humanity. Civilization may exist with Paganism, but only performs its highest uses when tributary to Christianity. And Christianity accepts the tribute which even Pagan civilization offers for the adornment of our race,–expelled from Paradise, and doomed to hard and bitter toils,–without abdicating her more glorious office of raising the soul to heaven.
Nor was Michael Angelo responsible for the vile mongrel architecture which followed the Renaissance, and which disfigures the modern capitals of Europe, any more than for the perversion of painting in the hands of Titian. But the indiscriminate adoption of pillars for humble houses, shops with Roman arches, spires and towers erected on Grecian porticoes, are no worse than schoolhouses built like convents, and chapels designed for preaching as much as for choral chants made dark and gloomy, where the voice of the preacher is lost and wasted amid vaulted roofs and useless pillars. Michael Angelo encouraged no incongruities; he himself conceived the beautiful and the true, and admired it wherever found, even amid the excavations of ruined cities. He may have overrated the buried monuments of ancient art, but how was he to escape the universal enthusiasm of his age for the remains of a glorious and forgotten civilization? Perhaps his mind was wearied with the Middle Ages, from which he had nothing more to learn, and sought a greater fulness and a more perfect unity in the expanding forces of a new and grander era than was ever seen by Pagan heroes or by Gothic saints.
But I need not expatiate on the new ideas which Michael Angelo accepted, or the impulse he gave to art in all its forms, and to the revival of which civilization is so much indebted. Let us turn and give a parting look at the man,–that great creative genius who had no superior in his day and generation. Like the greatest of all Italians, he is interesting for his grave experiences, his dreary isolations, his vast attainments, his creative imagination, and his lofty moral sentiments. Like Dante, he stands apart from, and superior to, all other men of his age. He never could sport with jesters, or laugh with buffoons, or chat with fools; and because of this he seemed to be haughty and disdainful. Like Luther, he had no time for frivolities, and looked upon himself as commissioned to do important work. He rejoiced in labor, and knew no rest until he was eighty-nine. He ate that he might live, not lived that he might eat. For seventeen years after he was seventy-two he worked on St. Peter's church; worked without pay, that he might render to God his last earthly tribute without alloy,–as religious as those unknown artists who erected Rheims and Westminster. He was modest and patient, yet could not submit to the insolence of little men in power. He even left the papal palace in disdain when he found his labors unappreciated. Julius II. was forced to bend to the stern artist, not the artist to the Pope. Yet when Leo X. sent him to quarry marbles for nine years, he submitted without complaint. He had no craving for riches like Rubens, no love of luxury like Raphael, no envy like Da Vinci. He never over-tasked his brain, or suffered himself, like Raphael,–who died exhausted at thirty-seven,–to crowd three days into one, knowing that over-work exhausts the nervous energies and shortens life. He never attempted to open the doors which Providence had plainly shut against him, but waited patiently for his day, knowing it would come; yet whether it came or not, it was all the same to him,–a man with all the holy rapture of a Kepler, and all the glorious self-reliance of a Newton. He was indeed jealous of his fame, but he was not greedy of admiration. He worked without the stimulus of praise,–one of the rarest things,–urged on purely by love of art. He loved art for its own sake, as good men love virtue, as Palestrina loved music, as Bacon loved truth, as Kant loved philosophy,–satisfied with itself as its own reward. He disliked to be patronized, but always remembered benefits, and loved the tribute of respect and admiration, even as he scorned the empty flatterer of fashion. He was the soul of sincerity as well as of magnanimity; and hence had great capacity for friendship, as well as great power of self-sacrifice His friendship with Vittoria Colonna is as memorable as that of Jerome and Paula, or that of Hildebrand and the Countess Matilda. He was a great patriot, and clung to his native Florence with peculiar affection. Living in habits of intimacy with princes and cardinals, he never addressed them in adulatory language, but talked and acted like a nobleman of nature, whose inborn and superior greatness could be tested only by the ages. He placed art on the highest pinnacle of the temple of humanity, but dedicated that temple to the God of heaven in whom he believed. His person was not commanding, but intelligence radiated from his features, and his earnest nature commanded respect. In childhood he was feeble, but temperance made him strong. He believed that no bodily decay was incompatible with intellectual improvement. He continued his studies until he died, and felt that he had mastered nothing. He was always dissatisfied with his own productions. Excelsior was his motto, as Alp on Alp arose upon his view. His studies were diversified and vast. He wrote poetry as well as carved stone, his sonnets especially holding a high rank. He was engineer as well as architect, and fortified Florence against her enemies. When old he showed all the fire of youth, and his eye, like that of Moses, never became dim, since his strength and his beauty were of the soul,–ever expanding, ever adoring. His temper was stern, but affectionate. He had no mercy on a fool or a dunce, and turned in disgust from those who loved trifles and lies. He was guilty of no immoralities like Raphael and Titian, being universally venerated for his stern integrity and allegiance to duty,–as one who believes that there really is a God to whom he is personally responsible. He gave away his riches, like Ambrose and Gregory, valuing money only as a means of usefulness. Sickened with the world, he still labored for the world, and died in 1564, over eighty-nine years of age, in the full assurance of eternal blessedness in heaven.
His marbles may crumble down, in spite of all that we can do to preserve them as models of hopeless imitation; but the exalted ideas he sought to represent by them, are imperishable and divine, and will be subjects of contemplation when
"Seas shall waste, the skies to smoke decay,
Rocks fall to dust, and mountains melt away."
AUTHORITIES
Grimm's Life of Michael Angelo; Vasari's Lives of the Most Excellent Painters, Sculptors and Architects; Duppa's Life of Michael Angelo; Bayle's Histoire de la Peinture en Italie.
MARTIN LUTHER
A. D. 1483-1546
THE PROTESTANT REFORMATION
Among great benefactors, Martin Luther is one of the most illustrious. He headed the Protestant Reformation. This movement is so completely interlinked with the literature, the religion, the education, the prosperity–yea, even the political history–of Europe, that it is the most important and interesting of all modern historical changes. It is a subject of such amazing magnitude that no one can claim to be well informed who does not know its leading issues and developments, as it spread from Germany to Switzerland, France, Holland, Sweden, England, and Scotland.
The central and prominent figure in the movement is Luther; but the way was prepared for him by a host of illustrious men, in different countries,–by Savonarola in Italy, by Huss and Jerome in Bohemia, by Erasmus in Holland, by Wyclif in England, and by sundry others, who detested the corruptions they ridiculed and lamented, but could not remove.
How flagrant those evils! Who can deny them? The papal despotism, and the frauds on which it was based; monastic corruptions; penance, and indulgences for sin, and the sale of them, more shameful still; the secular character of the clergy; the pomp, wealth, and arrogance of bishops; auricular confession; celibacy of the clergy, their idle and dissolute lives, their ignorance and superstition; the worship of the images of saints, and masses for the dead; the gorgeous ritualism of the mass; the substitution of legends for the Scriptures, which were not translated, or read by the people; pilgrimages, processions, idle pomps, and the multiplication of holy days; above all, the grinding spiritual despotism exercised by priests, with their inquisitions and excommunications, all centring in the terrible usurpation of the popes, keeping the human mind in bondage, and suppressing all intellectual independence,–these evils prevailed everywhere. I say nothing here of the massacres, the poisonings, the assassinations, the fornications, the abominations of which history accuses many of the pontiffs who sat on papal thrones. Such evils did not stare the German and English in the face, as they did the Italians in the fifteenth century. In Germany the vices were mediaeval and monkish, not the unblushing infidelity and levities of the Renaissance, which made a radical reformation in Italy impossible. In Germany and England there was left among the people the power of conscience, a rough earnestness of character, the sense of moral accountability, and a fear of divine judgment.
Luther was just the man for his work. Sprung from the people, poor, popular, fervent; educated amid privations, religious by nature, yet with exuberant animal spirits; dogmatic, boisterous, intrepid, with a great insight into realities; practical, untiring, learned, generally cheerful and hopeful; emancipated from the terrors of the Middle Ages, scorning the Middle Ages; progressive in his spirit, lofty in his character, earnest in his piety, believing in the future and in God,–such was the great leader of this emancipating movement. He was not so learned as Erasmus, nor so logical as Calvin, nor so scholarly as Melancthon, nor so broad as Cranmer. He was not a polished man; he was often offensively rude and brusque, and lavish of epithets, Nor was he what we call a modest and humble man; he was intellectually proud, disdainful, and sometimes, when irritated, abusive. None of his pictures represent him as a refined-looking man, scarcely intellectual, but coarse and sensual rather, as Socrates seemed to the Athenians. But with these defects and drawbacks he had just such traits and gifts as fitted him to lead a great popular movement,–bold, audacious, with deep convictions and rapid intellectual processes; prompt, decided, kind-hearted, generous, brave; in sympathy with the people, eloquent, Herculean in energies, with an amazing power of work; electrical in his smile and in his words, and always ready for contingencies. Had he been more polished, more of a gentleman, more fastidious, more scrupulous, more ascetic, more modest, he would have shrunk from his tasks; he would have lost the elasticity of his mind,–he would have been discouraged. Even Saint Augustine, a broader and more catholic man than Luther, could not have done his work. He was a sort of converted Mirabeau. He loved the storms of battle; he impersonated revolutionary ideas. But he was a man of thought, as well as of action.
Luther's origin was of the humblest. Born in Eisleben, Nov. 10, 1483, the son of a poor peasant, his childhood was spent in penury. He was religious from a boy. He was religious when he sang hymns for a living, from house to house, before the people of Mansfield while at school there, and also at the schools of Magdeburg and Eisenach, where he still earned his bread by his voice. His devotional character and his music gained for him a friend who helped him through his studies, till at the age of eighteen he entered the University at Erfurt, where he distinguished himself in the classics and the Mediaeval philosophy. And here his religious meditations led him to enter the Augustinian monastery: he entered that strict retreat, as others did, to lead a religious life. The great question of all time pressed upon his mind with peculiar force, "What shall a man give in exchange for his soul?" And it shows that religious life in Germany still burned in many a heart, in spite of the corruptions of the Church, that a young man like Luther should seek the shades of monastic seclusion, for meditation and study. He was a monk, like other monks; but it seems he had religious doubts and fears more than ordinary monks. At first he conformed to the customary ways of men seeking salvation. He walked in the beaten road, like Saint Dominic and Saint Francis; he accepted the great ideas of the Middle Ages, which he was afterwards to repudiate,–he was not beyond them, or greater than they were, at first; he fasted like monks, and tormented his body with austerities, as they did from the time of Benedict; he sang in the choir from early morn, and practised the usual severities. But his doubts and fears remained. He did not, like other monks, find peace and consolation; he did not become seraphic, like Saint Francis, or Bonaventura, or Loyola. Perhaps his nature repelled asceticism; perhaps his inquiring and original mind wanted something better and surer to rest upon than the dreams and visions of a traditionary piety. Had he been satisfied with the ordinary mode of propitiating the Deity, he would never have emerged from his retreat.
To a scholar the monastery had great attractions, even in that age. It was still invested with poetic associations and consecrated usages; it was indorsed by the venerable Fathers of the Church; it was favorable to study, and free from the noisy turmoil of the world. But with all these advantages Luther was miserable. He felt the agonies of an unforgiven soul in quest of peace with God; he could not get rid of them, they pursued him into the immensity of an intolerable night. He was in despair. What could austerities do for him? He hungered and thirsted after the truth, like Saint Augustine in Milan. He had no taste for philosophy, but he wanted the repose that philosophers pretended to teach. He was then too narrow to read Plato or Boëthius. He was a self-tormented monk without relief; he suffered all that Saint Paul suffered at Tarsus. In some respects this monastic pietism resembled the pharisaism of Saul, in the schools of Tarsus,–a technical, rigid, and painful adherence to rules, fastings, obtrusive prayers, and petty ritualisms, which form the essence and substance of all pharisaism and all monastic life; based on the enormous error that man deserves heaven by external practices, in which, however, he can never perfect himself, though he were to live, like Simeon Stylites, on the top of a pillar for twenty years without once descending; an eternal unrest, because perfection cannot be attained; the most terrible slavery to which a man can be conscientiously doomed, verging into hypocrisy and fanaticism.
It was then that a kind and enlightened friend visited him, and recommended him to read the Bible. The Bible never has been a sealed book to monks; it was ever highly prized; no convent was without it: but it was read with the spectacles of the Middle Ages. Repentance meant penance. In Saint Paul's Epistles Luther discovers the true ground of justification,–not works, but faith; for Paul had passed through similar experiences. Works are good, but faith is the gift of God. Works are imperfect with the best of men, even the highest form of works, to a Mediaeval eye,–self-expiation and penance; but faith is infinite, radiating from divine love; faith is a boundless joy,–salvation by the grace of God, his everlasting and precious boon to people who cannot climb to heaven on their hands and knees, the highest gift which God ever bestowed on men,–eternal life.
Luther is thus emancipated from the ideas of the Middle Ages and of the old Syriac monks and of the Jewish Pharisees. In his deliverance he has new hopes and aspirations; he becomes cheerful, and devotes himself to his studies. Nothing can make a man more cheerful and joyful than the cordial reception of a gift which is infinite, a blessing which is too priceless to be bought. The pharisee, the monk, the ritualist, is gloomy, ascetic, severe, intolerant; for he is not quite sure of his salvation. A man who accepts heaven as a gift is full of divine enthusiasm, like Saint Augustine. Luther now comprehends Augustine, the great doctor of the Church, embraces his philosophy and sees how much it has been misunderstood. The rare attainments and interesting character of Luther are at last recognized; he is made a professor of divinity in the new university, which the Elector of Saxony has endowed, at Wittenberg. He becomes a favorite with the students; he enters into the life of the people. He preaches with wonderful power, for he is popular, earnest, original, fresh, electrical. He is a monk still, but the monk is merged in the learned doctor and eloquent preacher. He does not yet even dream of attacking monastic institutions, or the Pope; he is a good Catholic in his obedience to authorities; but he hates the Middle Ages, and all their ghostly, funereal, burdensome, and technical religious customs. He is human, almost convivial,–fond of music, of poetry, of society, of friends, and of the good cheer of the social circle. The people love Luther, for he has a broad humanity. They never did love monks, only feared their maledictions.
About this time the Pope was in great need of money: this was Leo X. He not only squandered his vast revenues in pleasures and pomps, like any secular monarch; he not only collected pictures and statues,–but he wanted to complete St. Peter's Church. It was the crowning glory of papal magnificence. Where was he to get money except from the contributions of Christendom? But kings and princes and bishops and abbots were getting tired of this everlasting drain of money to Rome, in the shape of annats and taxes; so Leo revived an old custom of the Dark Ages,–he would sell indulgences for sin; and he sent his agents to peddle them in every country.
The agent in Saxony was a very vulgar, boisterous, noisy, bullying Dominican, by the name of Tetzel. Luther abhorred him, not so much because he was vulgar and noisy, but because his infamous business derogated from the majesty of God and religion. In wrathful indignation he preached against Tetzel and his practices,–the abominable traffic of indulgences. Only God can forgive sins. It seemed to him to be an insult to the human understanding that any man, even a pope, should grant an absolution for crime. These indulgences were the very worst form of penance, since they made a mockery of virtue. And it was useless to preach against them so long as the principles on which they were based were not assailed. Everybody believed in penance; everybody believed that this, in some form, would insure salvation. It consisted in a temporal penalty or punishment inflicted on the sinner after confession to the priest, as a condition of his receiving absolution or an authoritative pardon of his sin by the Church as God's representative. And the indulgence was originally an official remission of this penalty, to be gained by offerings of money to the Church for its sacred uses. However ingenious this theory, the practice inevitably ran into corruption. The people who bought, the agents who sold, the popes who dispensed, these indulgences used them for the vilest purposes.
Fortunately, in those times in Germany everybody felt he had a soul to save. Neither the popes nor the Church ever lost that idea. The clergy ruled by its force,–by stimulating fears of divine wrath, whereby the wretched sinner would be physically tormented forever, unless he escaped by a propitiation of the Deity,–the common form of which was penance, deeds of supererogation, donations to the Church, self-expiation, works of fear and penitence, which commended themselves to the piety of the age; and this piety Luther now believed to be unenlightened, not the kind enjoined by Christ or Paul.
So, to instruct his students and the people as to the true ground of justification, which he had worked out from the study of the Bible and Saint Augustine amid the agonies of a tormented conscience, Luther prepared his theses,–those celebrated ninety-five propositions, which he affixed to the gates of the church of Wittenberg, and which excited a great sensation throughout Northern Germany, reaching even the eyes of the Pope himself, who did not comprehend their tendency, but was struck with their power. "This Doctor Luther," said he, "is a man of fine genius." The students of the university, and the people generally, were kindled as if by Pentecostal fires. The new invention of printing scattered those theses everywhere, far and near; they reached the humble hamlet as well as the palaces of bishops and princes. They excited immediate and immense enthusiasm: there was freshness in them, originality, and great ideas. We cannot wonder at the enthusiasm which those religious ideas excited nearly four hundred years ago when we reflect that they were not cant words then, not worn-out platitudes, not dead dogmas, but full of life and exciting interest,–even as were the watchwords of Rousseau–"Liberty, Fraternity, Equality"–to Frenchmen, on the outbreak of their political revolution. And as those watchwords–abstractly true–roused the dormant energies of the French to a terrible conflict against feudalism and royalty, so those theses of Luther kindled Germany into a living flame. And why? Because they presented more cheerful and comforting grounds of justification than had been preached for one thousand years,–faith rather than penance; for works hinged on penance. The underlying principle of those propositions was grace,–divine grace to save the world,–the principle of Paul and Saint Augustine; therefore not new, but forgotten; a mighty comfort to miserable people, mocked and cheated and robbed by a venal and a gluttonous clergy. Even Taine admits that this doctrine of grace is the foundation stone of Protestantism as it spread over Europe in the sixteenth century. In those places where Protestantism is dead,–where rationalism or Pelagian speculations have taken its place,–this fact may be denied; but the history of Northern Europe blazes with it,–a fact which no historian of any honesty can deny.
Very likely those who are not in sympathy with this great idea of Luther, Augustine, and Paul may ignore the fact,–even as Caleb Gushing once declared to me, that the Reformation sprang from the desire of Luther to marry Catherine Bora; and that learned and ingenious sophist overwhelmed me with his citations from infidel and ribald Catholic writers like Audin. Greater men than he deny that grace underlies the whole original movement of the reformers, and they talk of the Reformation as a mere revolt from Rome, as a war against papal corruption, as a protest against monkery and the dark ages, brought about by the spirit of a new age, the onward march of humanity, the necessary progress of society. I admit the secondary causes of the Reformation, which are very important,–the awakened spirit of inquiry in the sixteenth century, the revival of poetry and literature and art, the breaking up of feudalism, fortunate discoveries, the introduction of Greek literature, the Renaissance, the disgusts of Christendom, the voice of martyrs calling aloud from their funeral pyres; yea, the friendly hand of princes and scholars deploring the evils of a corrupted Church. But how much had Savonarola, or Erasmus, or John Huss, or the Lollards aroused the enthusiasm of Europe, great and noble as were their angry and indignant protests? The genius of the Reformation in its early stages was a religious movement, not a political or a moral one, although it became both political and moral. Its strength and fervor were in the new ideas of salvation,–the same that gave power to the early preachers of Christianity,–not denunciations of imperialism and slavery, and ten thousand evils which disgraced the empire, but the proclamation of the ideas of Paul as to the grounds of hope when the soul should leave the body; the salvation of the Lord, declared to a world in bondage. Luther kindled the same religious life among the masses that the apostles did; the same that Wyclif did, and by the same means,–the declaration of salvation by belief in the incarnate Son of God, shedding his blood in infinite love. Why, see how this idea spread through Germany, Switzerland, and France and took possession of the minds of the English and Scotch yeomanry, with all their stern and earnest ruggedness. See how it was elaborately expanded by Calvin, how it gave birth to a new and strong theology, how it entered into the very life of the people, especially among the Puritans,–into the souls of even Cromwell's soldiers. What made "The Pilgrim's Progress" the most popular book ever published in England? Because it reflected the theology of the age, the religion of the people, all based on Luther's theses,–the revival of those old doctrines which converted the Roman provinces from Paganism. I do not care if these statements are denied by Catholics, or rationalists, or progressive savants. What is it to me that the old views have become unfashionable, or are derided, or are dead, in the absorbing materialism of this Epicurean yet brilliant age? I know this, that I am true to history when I declare that the glorious Reformation in which we all profess to rejoice, and which is the greatest movement, and the best, of our modern time,–susceptible of indefinite application, interlinked with the literature and the progress of England and America,–took its first great spiritual start from the ideas of Luther as to justification. This was the voice of heaven's messenger proclaiming aloud, so that the heavens re-echoed to the glorious and triumphant annunciation, and the earth heard and rejoiced with exceeding joy, "Behold, I send tidings of salvation: it is grace, divine grace, which shall undermine the throne of popes and pagans, and reconcile a fallen world to God!"
