"That would rather illustrate the good moral lesson to speak the truth, than the exalted effort to attain it."
"Here the lady—and a very sweet face she has—is looking at herself in the mirror. This must represent, I suppose, metaphysic truth."
"If so, that must be the reason," rejoined Mildred, "that she is placed here outside the temple. I am afraid she will never enter it. But we will." And they proceeded into the church.
"What an admirable effect has this high altar!" said Winston, in a subdued exclamation. "Standing as it does in the centre, just beneath the dome, and so justly proportioned, it at once occupies the whole building, and explains its purpose to the eye. I cannot agree with the criticism which has objected to the twisted column in a position like this. These four bronze and gilded pillars—how lofty they are!—sustain nothing of greater weight than the canopy above them, and are here as much in the character of ornament as support. The dove, in its golden atmosphere of glory, the representation of the Holy Spirit, which is indeed at the extremity of the church, seems brought within them, and to be floating between the columns. In every picture or engraving I have seen, the contrary effect is produced, and the high altar, losing its central position, seems transferred, with the dove in it, to the extremity of the church."
"And this semicircle of small burning lamps, arranged in their mystical trinities on the marble balustrade before it; and this double flight of stairs," continued Winston, as they approached the altar, and looked over the balustrade, "leading down to those brazen doors below, before which other burning lamps are suspended; and that marble figure of the Pope kneeling before them, kneeling and praying incessantly for the people—it is altogether admirable!"
"The light of lamps and tapers," said Mildred, "burning in midday, had upon me at first an incongruous effect; they seemed so superfluous and out of place. But after a little reflection, or a little habit, they ceased to make this impression. The lamp and the taper are not here to give light, but to be light. The light is a mystical and brilliant ornament—it is here for its own sake—and surely no jewellery and no burnished gold could surpass it in effect. These brazen lamps round the altar, each tipped with its steady, unwavering, little globe of light, are sufficiently justified by their beauty and their brightness. In the light of the taper, as in the water of the fountain, the ordinary purposes of utility are forgotten—enough that it is beautiful."
"How admirable the arrangement," said Winston, "of the tombs of the pontiffs! The sculpture on them seems as much a part of the church as of the monument. That kneeling figure of Clement XIII., kneeling upon its exalted tomb—I shall see it whenever I think of St. Peter's. It is here, and not in the Vatican, that Canova triumphs. That genius of Death, reclining underneath the pontiff, with his torch reversed—what could be more expressive, more tender, more melancholy! And Faith, or Religion, whichever she may be, standing upright on the opposite side, and leaning her outstretched hand with force upon the marble—is a noble figure too. But I could willingly have dispensed with those spikes around her head, signifying rays of light."
"It is a fortunate subject for the artist, that of the Pope," said Mildred. "Being a temporal prince, a high-priest, and it is to be supposed, a saint, he can be represented in all attitudes; in the humility of prayer, or the dignity of empire. Yonder he rises, blessing the people, and here he sits enthroned, giving out the law, and Religion is looking up to him! Have you observed this monument to our James II.?—who certainly deserved a tomb in St. Peter's, since he paid the price of a kingdom for it. It is one of the least conspicuous, but not one of the least beautiful of Canova's. Those two youthful figures leaning their brows each on his inverted torch—standing sentinels by that closed door—are they not inexpressibly graceful? And that closed door!—so firmly closed!—and the dead have gone in!"
"Mildred Willoughby," said Winston, "you are a poet."
It was the first time he had ever called his companion by her Christian name. It was done suddenly, in the moment of admiration, and her other name was also coupled with it; but he had no sooner uttered the word "Mildred" than he felt singularly embarrassed. She, however, by not perceiving, or not seeming to perceive his embarrassment, immediately dissipated it.