Upon these creations of ancient art (as Mrs. Jameson says) we cannot look as those did for whom they were created; we cannot annihilate the centuries which lie between us and them; we cannot in simplicity of heart, forget the artist in the image he has placed before us, nor supply what may be deficient in his work through a reverentially excited fancy. We are critical, not credulous. We no longer accept this polytheistic form of Christianity; and there is little danger, I suppose, of our falling again into the strange excesses of superstition to which it led. But if I have not much sympathy with modern imitations of medieval art, still less can I sympathise with that narrow puritanical jealousy which holds the monuments of a real and earnest faith in contempt: all that God has permitted to exist once in the past should be considered as the possession of the present; sacred for example or warning, and held as the foundation on which to build up what is better and purer.--Introd. p. xx. Mrs. Jameson here speaks in the name of a large and rapidly- increasing class. The craving for religious art, of which we spoke above, is spreading far and wide; even in dissenting chapels we see occasional attempts at architectural splendour, which would have been considered twenty years ago heretical or idolatrous. And yet with all this there is, as Mrs. Jameson says, a curious ignorance with regard to the subject of medieval art, even though it has now become a reigning fashion among us. We have learned, perhaps, after running through half the galleries and churches in Europe, to distinguish a few of the attributes and characteristic figures which meet us at every turn, yet without any clear idea of their meaning, derivation, or relative propriety. The palm of victory, we know, designates the martyr, triumphant in death. We so far emulate the critical sagacity of the gardener in "Zeluco," that we have learned to distinguish St. Laurence by his gridiron, and St. Catherine by her wheel. We are not at a loss to recognise the Magdalene's "loose hair and lifted eye," even when without her skull and her vase of ointment. We learn to know St. Francis by his brown habit, and shaven crown, and wasted ardent features; but how do we distinguish him from St. Anthony, or St. Dominick? As for St. George and the Dragon--from the St. George of the Louvre--Raphael's--who sits his horse with the elegant tranquillity of one assured of celestial aid, down to him "who swings on a sign-post at mine hostess's door"--he is our familiar acquaintance. But who is that lovely being in the first blush of youth, who, bearing aloft the symbolic cross, stands with one foot on the vanquished dragon? "That is a copy after Raphael." And who is that majestic creature holding her palm-branch, while the unicorn crouches at her feet? "That is the famous Moretto at Vienna." Are we satisfied? Not in the least! but we try to look wiser and pass on.