Chateaubriand was not a man of a pious, but of an artistic nature; and he conceived a fruitful artistic idea. Perceiving that the classic period in France had reached the term of its natural life, he contended that the imitation of the works of heathen antiquity ought now to cease. It had gone on, at least in appearance, for not less than 250 years. Poets had neglected national and religious subjects for those of ancient mythology; by the end of the eighteenth century they were not even imitating antiquity, but the seventeenth-century authors of their own country. Now there had been enough of it; now it was time for France to dismiss mythology and have a literature inspired by its own history and its own religion. In this roundabout way Chateaubriand arrived at his vindication of the beauty of Christianity, and of its superiority in artistic value to any of the heathen religions. The nature of the vindication evidences the nature of the whole movement which the work inaugurates. Its æsthetic part is preceded by a dogmatic introduction which, in keeping with the rest of the book, aims at proving the beauty of the dogmas of Christianity. I adduce a few examples of the absurd results of this "how beautiful!" style of reasoning. Of the sacrament of the Lord's Supper Chateaubriand writes: "We do not know what objections could be offered to a means of grace which evokes such a chain of poetical, moral, historical, and supernatural ideas, a means of grace which, beginning with flowers, youth, and charm, ends with bringing God down to earth to give Himself as spiritual sustenance to man." What objection indeed could be offered? None, if all this be true.