Indeed the way in which all external expression is regarded by the Italian differs radically from the way in which it presents itself to the Anglo-Saxon and the Teuton. Wagner declared that as soon as the German is called on to be artistic he becomes a buffoon. We in England, also, do not know how to express ourselves by means of external symbols; but the Italian experiences no such difficulty. We are not at home with them; he is. If we use them we exaggerate, he gives them their true proportion and place. He can always be taught by his senses, and he is not, as we are, deluded by them. We, in fine, do not know what to do with the external, he does. His sense of humour is active just where the Englishman's is quiescent; he is not capable, for example, of laying store by this or that little bit of ceremony. The evangelicalism of the Italian, therefore, which one hopes he may some day achieve, will be unlike Anglo-Saxon Christianity--as the catacombs are unlike a "Little Bethel"--he will always require gracious surroundings, he will always ask for the arts to assist his imagination, and prefer fine music, and even the perfume of incense, to the bids for his soul made by the preacher. That is his reticence, and as it differs from the Anglo-Saxon's the latter does not understand it. The Italian will always best respond to a service conceived in the spirit of the mass, with its mystical renewal enacted before his eyes, at once exterior and interior, public and intimate; but with no individualistic note, no dependence on the personal element.