In their conversation before marriage, Mr. Casaubon had often dwelt on some explanation or questionable detail of which Dorothea did not see the bearing; but such imperfect coherence seemed due to the brokenness of their intercourse, and, supported by her faith in their future, she had listened with fervid patience to a recitation of possible arguments to be brought against Mr. Casaubon’s entirely new view of the Philistine god Dagon and other fish-deities, thinking that hereafter she should see this subject which touched him so nearly from the same high ground whence doubtless it had become so important to him. Again, the matter-of-course statement and tone of dismissal with which he treated what to her were the most stirring thoughts, was easily accounted for as belonging to the sense of haste and preoccupation in which she herself shared during their engagement. But now, since they had been in Rome, with all the depths of her emotion roused to tumultuous activity, and with life made a new problem by new elements, she had been becoming more and more aware, with a certain terror, that her mind was continually sliding into inward fits of anger and repulsion, or else into forlorn weariness. How far the judicious Hooker or any other hero of erudition would have been the same at Mr. Casaubon’s time of life, she had no means of knowing, so that he could not have the advantage of comparison; but her husband’s way of commenting on the strangely impressive objects around them had begun to affect her with a sort of mental shiver: he had perhaps the best intention of acquitting himself worthily, but only of acquitting himself. What was fresh to her mind was worn out to his; and such capacity of thought and feeling as had ever been stimulated in him by the general life of mankind had long shrunk to a sort of dried preparation, a lifeless embalmment of knowledge. When he said, “Does this interest you, Dorothea? Shall we stay a little longer? I am ready to stay if you wish it,”—it seemed to her as if going or staying were alike dreary. Or, “Should you like to go to the Farnesina, Dorothea? It contains celebrated frescos designed or painted by Raphael, which most persons think it worth while to visit.” “But do you care about them?” was always Dorothea’s question. “They are, I believe, highly esteemed. Some of them represent the fable of Cupid and Psyche, which is probably the romantic invention of a literary period, and cannot, I think, be reckoned as a genuine mythical product. But if you like these wall-paintings we can easily drive thither; and you will then, I think, have seen the chief works of Raphael, any of which it were a pity to omit in a visit to Rome. He is the painter who has been held to combine the most complete grace of form with sublimity of expression. Such at least I have gathered to be the opinion of cognoscenti.”