[147] At least Judaism has the honour of giving its name to a whole period of art, the "Judaic period." "The modern style is the last phase of the Judaic school...." etc.
[148] In the Cours de Composition musicale M. d'Indy speaks of "the admirable initial T in the Rouleau mortuaire of Saint-Vital (twelfth century), which represents Satan vomiting two Jews ... an expressive and symbolic work of art, if ever there was one." I should not mention this but for the fact that there are only two illustrations in the whole book.
[149] Cours de Composition musicale, p. 160.
[150] L'Oratorio moderne (Tribune de Saint-Gervais, March, 1899).
[151] Ibid. As much as to say he was a Catholic without knowing it. And that is what a friend of the Schola, M. Edgar Tinel, declares: "Bach is a truly Christian artist and, without doubt, a Protestant by mistake, since in his immortal Credo he confesses his faith in one holy, catholic, and apostolic Church" (Tribune de Saint-Gervais, August-September, 1902). M. Edgar Tinel was, as you know, one of the principal masters of Belgian oratorio.
[152] Revue musicale, November, 1902.
[153] "The only documents extant on ancient music are either criticisms or appreciations, and not musical texts" (Cours de Composition).
[154] "The influence of the Renaissance, with its pretension and vanity, caused a check in all the arts—the effect of which we are still feeling" (Traité de Composition, p. 89. See also the passage quoted before on Pride).
[155] Tribune de Saint-Gervais, November, 1900.
[156] I speak of the passages where he expresses himself freely, and is not interpreting a dramatic situation necessary to his subject, as in that fine symphonic part of the Rédemption, where he describes the triumph of Christ. But even there we find traces of sadness and suffering.