The Reformation was not satisfied with merely giving a strong impulse to letters; it gave also a fresh impulse to the arts. Protestantism has often been reproached as their enemy, and many Protestants willingly accept this reproach. We will not inquire whether the Reformation ought to glory in it or not; we shall be content to observe that impartial history does not confirm the fact on which this accusation is founded. Let Roman-catholicism pride itself in being more favourable to the arts than Protestantism; be it so: paganism was still more favourable, and Protestantism places its glory elsewhere. There are some religions in which the esthetic tendencies of man hold a more important place than his moral nature. Christianity is distinct from these religions, inasmuch as the moral element is its essence. The christian sentiment is manifested not by the productions of the fine arts, but by the works of a christian life. Every sect that should abandon this moral tendency of Christianity, would by that very circumstance forfeit its claims to the name of christian. Rome has not entirely abandoned it, but Protestantism cherishes this essential characteristic with much greater purity. It places its glory in diving into all that concerns the moral being, in judging of religious actions, not by their external beauty and the manner in which they strike the imagination, but according to their internal worth, and the connexion they have with the conscience; so that if the papacy is above all an esthetical religion, as a celebrated writer has proved it to be,[384] Protestantism is above all a moral religion.
MUSIC AND POETRY.
And yet, although the Reformation at first addressed man as a moral being, it addressed the whole man. We have just seen how it spoke to his understanding and what it did for literature; it also spoke to his sensibility, to his imagination, and contributed to the development of the arts. The Church was no longer composed exclusively of monks and priests; it was the assembly of the faithful. All were to take part in its public worship; and the chanting of the clergy was to be succeeded by the singing of the people. Accordingly Luther, in translating the Psalms, thought of adapting them to congregational singing. Thus a taste for music was spread among the nation.
"Next to theology," said Luther, "I give the first place and the highest honour to music.[385] A schoolmaster should know how to sing," said he at another time, "or else I will not so much as look at him."
One day, as certain of his friends were singing some beautiful chants at his house, he exclaimed with enthusiasm: "If our Lord God has scattered such admirable gifts on this earth, which is but a dark corner, what will it not be in the life eternal, in which all will be perfection!"......Since Luther's time, the people have sung; the Bible inspired their songs, and the impulse given at the epoch of the Reformation produced in later years those noble oratorios which seem to be the summit of this art.
Poetry shared in the general movement. In singing the praises of God, men could not confine themselves to mere translations of the ancient hymns. The souls of Luther and many of his contemporaries, elevated by faith to the sublimest ideas, excited to enthusiasm by the conflicts and dangers that continually threatened the infant Church, inspired by the poetic genius of the Old Testament, and by the faith of the New, soon poured forth their feelings in religious songs, in which poetry and music united and blended their most heavenly features. Thus in the sixteenth century the hymns were revived which in the first century had consoled the pangs of the martyrs. In 1523, Luther, as we have already seen, consecrated them to the memory of the Brussels martyrs; other children of the Reformation imitated his example; these hymns increased in number, and were circulated rapidly among the people, and contributed powerfully to awaken them from their slumbers. It was in this same year that Hans Sachs composed The Nightingale of Wittemberg. The doctrine that for the last four centuries had prevailed in the Church was as the moonlight, during which men lost their way in the wilderness. Now the nightingale proclaims the dawn, and, soaring above the mists of the morning, celebrates the brightness of the coming day.
Whilst lyric poetry thus owed its birth to the loftiest inspirations of the Reformation, satirical verses and dramas from the pen of Hütten and Manuel attacked the most crying abuses.
It is to the Reformation that the greatest poets of England, Germany, and perhaps of France, are indebted for their highest flights.
PAINTING.
Of all the arts, painting is that on which the Reformation had the least influence. Nevertheless, it was renovated, and as it were sanctified, by the universal movement which at that time agitated all the powers of man. Lucas Cranach, the great master of that age, settled at Wittemberg, lived on intimate terms with Luther, and became the painter of the Reformation. We have seen how he represented the contrast between Christ and Antichrist (the pope),[386] and thus ranked among the most influential organs of the revolution that was transforming the nations. As soon as he had received new convictions, he consecrated his chaste pencil solely to paintings in harmony with christian sentiments, and spread over groups of children, blessed by our Saviour, those graces with which he had previously adorned legendary saints. Albert Durer also was gained over by the Word of the Gospel, and his genius received a fresh impulse. His masterpieces date from this period. We see from the touches with which he henceforward depicted the evangelists and apostles, that the Bible was restored to the people, and that the painter thence derived a depth, power, life, and sublimity, that he would never have found in himself.[387]