By means of religious emblems St. Francis [pg 206] Xavier effected many conversions in India; and by the same means Father De Smet made known the Gospel to the savages of the Rocky Mountains.
Third—By exhibiting religious paintings in our rooms we make a silent, though eloquent, profession of our faith. I once called on a gentleman in a distant city, some time during our late war, and, on entering his library, I noticed two portraits, one of a distinguished General, the other of an Archbishop. These portraits at once proclaimed to me the religious and patriotic sentiments of the proprietor of the house. “Behold!” he said to me, pointing to the pictures, “my religious creed and my political creed.” If I see a crucifix in a man's room I am convinced at once that he is not an infidel.
Fourth—By the aid of sacred pictures our devotion and love for the original are intensified, because we can concentrate our thoughts more intently on the object of our affections. Mark how the eye of a tender child glistens on confronting the painting of an affectionate mother. What Christian can stand unmoved when contemplating a picture of the Mother of Sorrows? How much devotion has been fostered by the Stations of the Cross? Observe the intense sympathy depicted on the face of the humble Christian woman as she silently passes from one station to another. She follows her Savior step by step from the Garden to Mount Calvary. The whole scene, like a panoramic view, is imprinted on her mind, her memory and her affections. Never did the most pathetic sermon on the Passion enkindle such heartfelt love, or evoke such salutary resolutions, as have been produced by the silent spectacle of our Savior hanging on the cross.
Fifth—The portraits of the Saints stimulate us [pg 207] to the imitation of their virtues; and this is the principal aim which the Church has in view in encouraging the use of pious representations. One object, it is true, is to honor the Saints; another is to invoke them; but the principal end is to incite us to an imitation of their holy lives. We are exhorted to “look and do according to the pattern shown us on the mount.”[280] Nor do I know a better means for promoting piety than by example.
If you keep at home the likenesses of George Washington, of Patrick Henry, of Chief Justice Taney, or of other distinguished men, the copies of such eminent originals cannot fail to exercise a salutary though silent influence on the mind and heart of your child. Your son will ask you: “Who are those men?” And when you tell him: “This is Washington, the Father of his Country; this is Patrick Henry, the ardent lover of civil liberty; and this is Taney, the incorruptible Judge,” your boy will imperceptibly imbibe not only a veneration for those men, but a relish for the civic virtues for which they were conspicuous. And in like manner, when our children have constantly before their eyes the purest and most exalted models of sanctity, they cannot fail to draw from such contemplation a taste for the virtues that marked the lives of the originals.
Is not our country flooded with obscene pictures and immodest representations which corrupt our youths? If the agents of Satan employ means so vile for a bad end; if they are cunning enough to pour through the senses into the hearts of the unwary the insidious poison of sin, by placing before them lascivious portraits, in God's name, why should not we sanctify the souls of our children [pg 208] by means of pious emblems? Why should not we make the eye the instrument of edification as the enemy makes it the organ of destruction? Shall the pen of the artist, the pencil of the painter and the chisel of the sculptor be prostituted to the basest purposes? God forbid! The arts were intended to be the handmaids of religion.
Almost every moment of the day the eye is receiving impressions from outward objects and instantly communicating these impressions to the soul. Thus the soul receives every day thousands of impressions, good or bad, according to the character of the objects presented to its gaze.
We cannot, therefore, over-estimate the salutary effect produced upon us in a church or room adorned with sacred paintings. We feel, while in their presence, that we are in the company of the just. The contemplation of these pious portraits chastens our affections, elevates our thoughts, checks our levity and diffuses around us a healthy atmosphere.
I am happy to acknowledge that the outcry formerly raised against images has almost subsided of late. The epithet of idolaters is seldom applied to us now. Even some of our dissenting brethren are beginning to recognize the utility of religious symbols and to regret that we have been permitted, by the intemperate zeal of the Reformers, to have so long the monopoly of them. Crosses already surmount some of our Protestant churches and replace the weather-cock.
A gentleman of Richmond recently informed me that during the preceding Holy Week he adorned with twelve crosses an Episcopal church in which, eleven years before, the sight of a single one was viewed with horror by the minister.