How far does the second of these clauses modify the first? Men there are who maintain the severe independence of the former, so that it forbids the presence of any image or likeness in the house of God, even for innocent purposes of adornment. But the Decalogue is not a liturgical directory: what it forbids in church it forbids anywhere; and on this theory the statues in Parliament Square would be idolatrous, as well as those in Westminster Abbey. And such Christians are more Judaical than the Jews, who were taught to place in the very Holy of Holies golden cherubim overshadowing the mercy-seat, and to represent them again upon its curtains. It is therefore plain that the precept never forbade imagery, but idolatry, which is the making of images to satisfy the craving of men’s hearts for a sensuous worship—the making of them “unto thee.” The second clause qualifies and elucidates the first. And what the commandment prohibits is any attempt to help our worship by representing the object of adoration to the senses. The higher and more subtle idolatries do not conceive that wood or gold is actually transformed into their deities; but only that the deities are locally present in the images, which express their attributes—power in a hundred hands, beneficence in a hundred breasts. But in thus expressing, they degrade and cramp the conception. They may perhaps evade the reproach of Isaiah that they warm themselves with a portion of timber, and roast meat with another portion, and make the remainder a god (Isa. xliv. 15–17), by urging that the timber is not the god, but an abode which he chooses because it expresses his specific qualities. But they cannot evade the reproach of St. Paul, that being ourselves the offspring of God, we ought not to compare Him to the workmanship of our hands, graven with art and man’s device (Acts xvii. 29). A truly spiritual worship is intellectually as well as morally the most elevating exercise of the soul, which it leads onward and upward, making of all that it knows and thinks a vestibule, beyond which lie higher knowledge and deeper feeling as yet unattained. Why is Gothic architecture better adapted for religious buildings than any Grecian or Oriental style? Because its long aisles, vaulted roofs and pointed arches, leading the vision up to the unseen, tell of mystery, and draw the mind away beyond the visible and concrete to something greater which it hints; while rounded arches and definite proportions shut in at once the vision and the mind. The difference is the same as between poetry and logic.