unintentionally dishonoured, should forbid our insulting what after all
is so nearly related to that idea, and in the eyes of the untaught very
closely identified with it.

But an occasional trespass of this kind, however offensive, is not
enough to detract materially from the value of so much that is
meritorious; nor again will that outspoken treatment of delicate topics
(less observable in _The Cathedral_ than in _En Route_), which makes the
book undesirable for many classes of readers, prevent its due
appreciation on the part of others--unless we are going to put the
Sacred Scriptures on the Index. In this vexed question, M. Huysman takes
what seems the more robust and healthy view, but he appears to be quite
unaware how many difficulties it involves; and consequently lashes out
with his usual intemperance against the contrary tradition, which is
undeniably well represented. It is not as though the advocates of the
"flight" policy in regard to temptations against this particular virtue
were ignorant of the general principle which undoubtedly holds as
regards all other temptations, and bids us turn and face the dog that
barks at our heels. This counsel is as old as the world. But from the
earliest time a special exception has been made to it in the one case of
impurity by those who have professedly spoken in the light of experience
rather than of _à priori_ inference. Both views are encompassed with
difficulty, nor does any compromise suggest itself.

What seems to us one of the most interesting points raised by the story
of Durtal's spiritual re-birth and development is the precise relation
between the Catholic religion and fine art.

God has not chosen to save men by logic; so neither has He chosen to
save them by fine art. If the "election" of the Apostolic Church counted