"I have always understood, as you say," answered Charles, "modern music did not come into existence till after the powers of the violin became known. Corelli himself, who wrote not two hundred years ago, hardly ventures on the shift. The piano, again, I have heard, has almost given birth to Beethoven."
"Modern music, then, could not be in ancient times, for want of modern instruments," said Campbell; "and, in like manner, Gothic architecture could not exist until vaulting was brought to perfection. Great mechanical inventions have taken place, both in architecture and in music, since the age of basilicas and Gregorians; and each science has gained by it."
"It is curious enough," said Reding, "one thing I have been accustomed to say, quite falls in with this view of yours. When people who are not musicians have accused Handel and Beethoven of not being simple, I have always said, 'Is Gothic architecture simple?' A cathedral expresses one idea, but it is indefinitely varied and elaborated in its parts; so is a symphony or quartett of Beethoven."
"Certainly, Bateman, you must tolerate Pagan architecture, or you must in consistency exclude Pagan or Jewish Gregorians," said Campbell; "you must tolerate figured music, or reprobate tracery windows."
"And which are you for," asked Bateman, "Gothic with Handel, or Roman with Gregorians?"
"For both in their place," answered Campbell. "I exceedingly prefer Gothic architecture to classical. I think it the one true child and development of Christianity; but I won't, for that reason, discard the Pagan style which has been sanctified by eighteen centuries, by the exclusive love of many Christian countries, and by the sanction of a host of saints. I am for toleration. Give Gothic an ascendancy; be respectful towards classical."
The conversation slackened. "Much as I like modern music," said Charles, "I can't quite go the length to which your doctrine would lead me. I cannot, indeed, help liking Mozart; but surely his music is not religious."
"I have not been speaking in defence of particular composers," said Campbell; "figured music may be right, yet Mozart or Beethoven inadmissible. In like manner, you don't suppose, because I tolerate Roman architecture, that therefore I like naked cupids to stand for cherubs, and sprawling women for the cardinal virtues." He paused. "Besides," he added, "as you were saying yourself just now, we must consult the genius of our country and the religious associations of our people."
"Well," said Bateman, "I think the perfection of sacred music is Gregorian set to harmonies; there you have the glorious old chants, and just a little modern richness."
"And I think it just the worst of all," answered Campbell; "it is a mixture of two things, each good in itself, and incongruous together. It's a mixture of the first and second courses at table. It's like the architecture of the façade at Milan, half Gothic, half Grecian."