Provisionally Ignorant, At Least, We Begin To Appear At The Earliest Practicable Hour Before The Outermost Stairway Of The Vatican, And, While The Swiss Guards Still Have On Their Long, Blue Cloaks To Keep Their Black And Yellow Legs Warm, Mount To The Sistine Chapel.

Here we help instruct one another, as we stand about or sit about in twos and threes or larger groups, reading aloud from our polyglot Baedekers while we join in identifying the different facts.

Here, stupendously familiar, whether we have seen it before or not, is Michelangelo's giant fresco of the Judgment, as prodigious as we imagined or remembered it; here are his mighty Prophets and his mighty Sibyls; and here below them, in incomparably greater charm, are the frescos of Botticelli, with the grace of his Primavera playing through them all like a strain of music and taking the soul with joy.

It is the same crowd in the Raphael Stanze, but rather silenter, for by now we have taught ourselves enough from our Baedekers at least to read them under our breaths, and we talk low before the frescos and the canvases. Some of us are even mute in the presence of the School of Athens, whatever reserves we may utter concerning the Transfiguration. If we are honest, we more or less own what our impressions really are from those other famous works, concerning which our impressions are otherwise altogether and inexpressibly unimportant; it is a question of ethics and not aesthetics, as most of our simple-hearted company suppose it to be; and, if we are dishonest, we pretend to have felt and thought things at first-hand from them which we have learned at second-hand from our reading. I will confess, for my small part, that I had more pleasure in the coloring and feeling of some of the older canvases and in here and there a Titian than in all the Raphaels in the Stanze of his name.

I was not knowing his works for the first time; no one perhaps does that, such is the multiplicity of the copies of them; and I vividly remembered them from my acquaintance with the originals four decades before, as I had remembered the Michelangelos; but in their presence and in the presence of so many other masterpieces in the different rooms, with their horrible miracles and atrocious martyrdoms, I realized as for the first time what a bloody religion ours was. It was such relief, such rest, to go from those broilings and beheadings and crucifixions and Sayings and stabbings into the long, tranquil aisles of the museum where the marble men and women, created for earthly immortality by Greek art, welcomed me to their serenity and sanity. The earlier gods might have been the devils which the early Christians fancied them, but they did not look it; they did not look as if it was they that had loosed the terrors upon mankind out of which the true faith has but barely struggled at last, now when its relaxing grasp seems slipping from the human mind.

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