Klytia: A Story of Heidelberg Castle

by Adolf Hausrath

"Humbug," murmured Felix to himself and for the first time in his life he felt a sort of repugnance towards his brother, for whom he usually had had only the tender feelings of a friend and father; he looked up with a sort of displeasure at the tall young figure which with bowed knee almost disappeared within the pulpit, then again rose up quickly with outstretched arms, and sank backwards as if he had been stricken to the heart with a deadly blow, only to repeat once again with uplifted hand "Only the Church, preaching, and the word."

"That comes from having done away with organ, colored windows, and male choirs, they must crack up with immoderate praise the excellency of wares for which no mouth now waters, whilst in the Church, as we adorn it, the heart draws up men with it." As finally the speaker with a thorough knowledge of his subject produced a final homiletic storm, and the entire fullness of his voice reached its highest developement, Felix awaited his Amen with impatience and when the congregation after a song of praise left the Church without the usual organ accompaniment, but amidst the hasty trot and shuffling of the school-children and the loud remarks of the men, the Italian felt himself colder and less satisfied than at any time when leaving after Vespers.

As he came out of the door of the Church into the court filled with the rays of an evening sun, his look fell at once upon the tall figure of the Counsellor Erast who was waiting for his daughter. He wished to pass on with a polite bow, but Erast stopped him with the friendly inquiry as to how the reformed service had pleased the Papist. "Monotonous melodies badly sung," said the Italian evasively. He felt he was not called upon to preach the gospel to the heathen. But the Counsellor was in his own waters. "Ah so," said he, "you do not know our musical canon. We observe Calvin's Institutio in this matter. 'Attention is to be paid', says the Genevese teacher, 'that the ear does not strive more after the melody than the spirit after the meaning of the words. Songs, which are calculated only to produce a pleasing impression and to delight the ear are not suitable to the Majesty of the Church and must be displeasing to God.'"

"Quite the contrary," answered the Italian dryly, "if the Almighty only possesses the slightest ear for music, he will exclude these people from the celestial choirs if only on account of their inharmonious shrieks. The singing is only fit for Hell."

Erast laughed. "And the Magister's sermon, did that find grace in your sensitive ears?"

"Had the House of God been left as our forefathers built it," said Felix, "no excessive oratory would be needed to lead souls to God."

"We are accustomed to be edified by the word, not by pictures, symbols, and all kinds of singsong," rejoined Erast smiling.

"By the word," cried Felix angrily. "Do you then believe that the chanted word is not the word of God? And the question remains still the same whether the Maestro of Palestrina does not rather disclose to me the meaning of the word and imprints it deeper in my heart, or whether Parson Neuser, Suter, or whatever these gentlemen are called whom I lately met sitting round the table at the Hirsch do so. Perhaps you also have seen at St. Mark's in Florence the picture by Fra Angelico of the two disciples inviting the Saviour disguised as a pilgrim to tarry with them, for the day is far spent and night is at hand. You could hear many sermons on the disciples at Emmaus from your celebrated Church divines before obtaining a conception of the text, which Fiesole places before you in so impressive a manner. He who has seen the look of the Saviour in that picture, will be accompanied through life by this look, as by the best text out of the Bible."

"I also have spent many a profitable hour in your churches," said Erast, "but I have remarked how the best pictures as well as the worst are reverenced by the people as idols, and the worship of the only true God is lessened thereby. I know the picture in San Marco well, and as you state, no one who has seen the gentle features of the Master and his disciples can forget them. I have seen however other pictures, which I can just as little forget. As for instance the horrible Sebastian, Roche and Mark in the hospital at Venice. When the Lazareth fever broke out in consequence of the filthy management, it was not combated by fresh air, pure water and lime, as we do it, but new lights were lit to the three Patron Saints. If nevertheless people died, then the Saints were insulted, spat upon, beaten, then everything was held to be done. No one thought of practical earthly measures. That is a consequence of mixing religion and art together. For this cause did I move no hand, when all the pictures here were done away with, although I felt grieved for many a work of art." The Italian perceived well the seed of truth which lay in these words, but he was as horrified at the heretical sentiment as if the claw of Satan had laid hold of him. He made the sign of the cross, and remarking, that Erast smiled contemptuously took up the discussion excitedly.

"The people ever remains the people," said he sharply. "Since they no longer seek help from images, they do believe the more in witches and magic in the which God's worship acquires nothing. You cannot be ignorant of the fact that in the small Geneva, Calvin has burnt more magicians and witches than have been burnt during our life time in the whole of Italy. It is therefore better for the people to turn for aid to the images of the Madonna than to Satan. In the matter of lights and choirs you have not even the excuse of misuse, or has the organ also tended towards idolatry?"