Subsequently followed all the wealth of poetry and rhetoric, of sculpture and painting sometime the pride of the classical world. Love, and it _was_ Love which was acting, drew her children aside from these intellectual and sensuous gratifications, and pointed to the Crucified. She thus, says the soliloquist, had demanded of her votaries vast sacrifices which might reasonably have been held essential in the early days of Christianity. We have already seen, indeed, how empty of ultimate satisfaction had been these same intellectual pleasures to Cleon: how obviously light would have been, to him, the sacrifice involved in an acceptance of any faith which should afford a definite and reasonable hope for a future state of existence: how small a price would have been the loss of life temporal in view of the gain of life eternal. (3) But the critic, whilst admitting the sublimity of the sacrifice of the first century of the Christian era, deprecates the demand made for its repetition in the nineteenth. It is time for Love's children not only to "creep, stand steady upon their feet," but to "walk already. Not to speak of trying to climb" (ll. 697-699). The limitations imposed upon the intellect and its free development should long since have been discarded. (4) Yet, though recognizing this to the full, the speaker will not condemn one of those, however mistaken, whose foreheads bear "_lover_ written above the earnest eyes of them." These worshippers within St. Peter's need some satisfaction of the demands made upon their nature by an inherent craving for beauty; and yet have they sacrificed for Love's sake all that they might have found of intense enjoyment in unfettered life. Dwelling amidst the glories of Rome, ancient and modern, they yet turn from the "Majesties of art around them." Faith struggles to suppress intellectual and artistic cravings; and these, at length subdued, they "offer up to God for a present." Denied in the world without the sensuous satisfaction for which they yearn, they would seek it in the display attendant on the Roman Catholic ritual. This is the view of the man who believes himself to be the true "lover" of God, capable of worshipping in spirit and in truth.