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Between him and the Faith there stood no distance of space, but rather a high thin wall; the high thin wall of his own desperate conviction. If you will turn to page 209 of this book you will see it said of the denial of the Sacrament by the Reformers and of Ridley's dogma that it was bread only "the commonsense of the country was of the same opinion, and illusion was at an end." Froude knew that the illusion was not at an end. He probably knew (for we must continue to repeat that he was a most excellent historian) that the "commonsense of the country" was, by the time Ridley and the New English Church began denying the real presence, and turning that denial into a dogma, profoundly indifferent to all dogmas whatsoever. What "the common-sense of the country" wanted was to keep out swarthy men, chivalrous indeed but imperialists full of gold who owned nearly all the earth, but who, they were determined, should not own England.

It could not seem remarkable to Celia that a dinner guest should be announced to her sister beforehand, but, her eyes following the same direction as her uncle's, she was struck with the peculiar effect of the announcement on Dorothea. It seemed as if something like the reflection of a white sunlit wing had passed across her features, ending in one of her rare blushes. For the first time it entered into Celia's mind that there might be something more between Mr. Casaubon and her sister than his delight in bookish talk and her delight in listening. Hitherto she had classed the admiration for this "ugly" and learned acquaintance with the admiration for Monsieur Liret at Lausanne, also ugly and learned. Dorothea had never been tired of listening to old Monsieur Liret when Celia's feet were as cold as possible, and when it had really become dreadful to see the skin of his bald head moving about. Why then should her enthusiasm not extend to Mr. Casaubon simply in the same way as to Monsieur Liret? And it seemed probable that all learned men had a sort of schoolmaster's view of young people.

The twelfth, the Purification, is absurdly bad, but I do not know whether the expression of strong personal dislike to the Virgin which the High Priest wears is intended as prophetic, or whether it is the result of incompetence, or whether it is merely a smile gone wrong in the baking. It is amusing to find Marocco, who has not been strict about archaeological accuracy hitherto, complain here that there is an anachronism, inasmuch as some young ecclesiastics are dressed as they would be at present, and one of them actually carries a wax candle. This is not as it should be; in works like those at Oropa, where implicit reliance is justly placed on the earnest endeavours that have been so successfully made to thoroughly and carefully and patiently ensure the accuracy of the minutest details, it is a pity that even a single error should have escaped detection; this, however, has most unfortunately happened here, and Marocco feels it his duty to put us on our guard. He explains that the mistake arose from the sculptor's having taken both his general arrangement and his details from some picture of the fourteenth or fifteenth century, when the value of the strictest historical accuracy was not yet so fully understood.

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