I have not spoken of the influence of Jesuitism on art. This Order kept alive that devotion for the Madonna which their great founder Loyola had so ardently professed when he chose for the "Lady" of his thoughts, "no princess, no duchess, but one far greater, more peerless." The learning of the Jesuits supplied some themes not hitherto in use, principally of a fanciful and allegorical kind, and never had the meek Mary been so decked out with earthly ornament as in their church pictures. If the sanctification of simplicity, gentleness, maternal love, and heroic fortitude, were calculated to elevate the popular mind, the sanctification of mere glitter and ornament, embroidered robes, and jewelled crowns, must have tended to degrade it. It is surely an unworthy and a foolish excuse that, in thus desecrating with the vainest and most vulgar finery the beautiful ideal of the Virgin, an appeal was made to the awe and admiration of vulgar and ignorant minds; for this is precisely what, in all religious imagery, should be avoided. As, however, this sacrilegious millinery does not come within the province of the fine arts, I may pass it over here. Among the Jesuit prints of the seventeenth century, I remember one which represents the Virgin and Child in the centre, and around are the most famous heretics of all ages, lying prostrate, or hanging by the neck. Julian the Apostate; Leo the Isaurian; his son, Constantine Capronymus; Arius; Nestorius; Manicheus; Luther; Calvin:--very characteristic of the age of controversy which had succeeded to the age of faith, when, instead of solemn saints and grateful votaries, we have dead or dying heretics surrounding the Mother of Mercy! * * * * *