Another element, far more deep and delicate and hard to describe, is the immediate connection of what is most awful and archaic with what is most intimate and individual. It is a miracle in itself that anything so huge and historic in date and design should be so fresh in the affections. It is as if a man found his own parlour and fireside in the heart of the Great Pyramid. It is as if a child’s favourite doll turned out to be the oldest sacred image in the world, worshipped in Chaldea or Nineveh. It is as if a girl to whom a man made love in a garden were also, in some dark and double fashion, a statue standing for ever in a square. It is just here that all those things which were regarded as weakness come in as the fulness of strength. Everything that men called sentimental in Roman Catholic religion, its keepsakes, its small flowers and almost tawdry trinkets, its figures with merciful gestures and gentle eyes, its avowedly popular pathos and all that Matthew Arnold meant by Christianity with its “relieving tears”—all this is a sign of sensitive and vivid vitality in anything so vast and settled and systematic. There is nothing quite like this warmth, as in the warmth of Christmas, amid ancient hills hoary with such snows of antiquity. It can address even God Almighty with diminutives. In all its varied vestments it wears its Sacred Heart upon its sleeve. But to those who know that it is full of these lively affections, like little leaping flames, there is something of almost ironic satisfaction in the stark and primitive size of the thing, like some prehistoric monster; in its spires and mitres like the horns of giant herds or its colossal cornerstones like the four feet of an elephant. It would be easy to write a merely artistic study of the strange externals of the Roman religion, which should make it seem as uncouth and unearthly as Aztec or African religion. It would be easy to talk of it as if it were really some sort of mammoth or monster elephant, older than the Ice Age, towering over the Stone Age; his very lines traced, it would seem, in the earthquakes or landslides of some older creation, his very organs and outer texture akin to unrecorded patterns of vegetation and air and light—the last residuum of a lost world. But the prehistoric monster is in the Zoölogical Gardens and not in the Natural History Museum. The extinct animal is still alive. And anything outlandish and unfamiliar in its form accentuates the startling naturalness and familiarity of its mind, as if the Sphinx began suddenly to talk of the topics of the hour. The super-elephant is not only a tame animal but a pet; and a young child shall lead him.