This purpose, to give his life the unity he demanded from a poem; these motives, of suffering and humility, run waveringly through _De Profundis_, carrying with them here and there fragments of mournful experience. Through them he came to contemplate Christ, not only as a type of humility and suffering, but also as an example of one whose life was a work of art. In such books as _De Profundis_, the continuous wandering speech of a mind following itself, some paragraphs seem to withdraw themselves a little, as the keynotes of the rest. Such paragraphs are, I think, those in which he wrote of Christ as the supreme artist, of Christ's influence on art, and of his philosophy as Wilde interpreted it. These paragraphs have seemed blasphemous to some and unreasonable to others. I cannot consider them more blasphemous than a Madonna and Child by Murillo, or a Christ and his Father by Milton, or more unreasonable than those persons who are unable to perceive that religion, no less than the Sabbath, was made for man, and not for the delectation of the Almighty. Man makes God in his own image, or as he would like himself to be, and, as man's image changes, so is his God continually recast. Wilde's prose-poem of the artist and the bronze is the story of the making and remaking of religion. The Christ of the Roman slaves who escaped from their masters' rods to worship their God in cellars was indeed a Man of Sorrows, who found in misery and low estate the means of creating loveliness. As they hoped, he promised, and each labourer's penny was minted with the superscription he had himself designed. With the renaissance of joy came new Christs. One taught the Irish monks to build their wattled cells. Another, delighting in richness no less than in simplicity, designed the stone lacework of the French cathedrals. Later, the sombre, fiery Calvin saw a divinity of black and scarlet. Milton's God conceived humanity as an epic, whose conclusion must neither be hurried nor delayed. There have been Gods of war and Gods of peace, changing with man's desires. It is for that reason that we are warned to make no graven images, lest we should commit ourselves to a God of a single mood. It was quite natural that the Christ whom Wilde saw, as he sat on the wooden bench in his cell and turned the pages of his Greek Testament, should be a Christ who showed that in all the acts of his life there had been hope, a Christ who perceived "the enormous importance of living completely for the moment," swept aside the tyranny of orthodoxy, and "regarded sin and suffering as being in themselves beautiful holy things and modes of perfection."