This was the first Life of Jesus for the Catholic world, which had scarcely been touched—the Latin peoples least of all—by the two and a half generations of critical study which had been devoted to the subject. It is true, Strauss’s work had been translated into French,(107) but it had made only a passing stir, and that only among a little circle of intellectuals. Now came a writer with the characteristic French mental accent, who gave to the Latin world in a single book the result of the whole process of German criticism. But Renan’s work marked an epoch, not for the Catholic world only, but for general literature. He laid the problem which had hitherto occupied only theologians before the whole cultured world. And not as a problem, but as a question of which he, by means of his historical science and aesthetic power of reviving the past, could provide a solution. He offered his readers a Jesus who was alive, whom he, with his artistic imagination, had met under the blue heaven of Galilee, and whose lineaments his inspired pencil had seized. Men’s attention was arrested, and they thought to see Jesus, because Renan had the skill to make them see blue skies, seas of waving corn, distant mountains, gleaming lilies, in a landscape with the Lake of Gennesareth for its centre, and to hear with him in the whispering of the reeds the eternal melody of the Sermon on the Mount. Yet the aesthetic feeling for nature which gave birth to this Life of Jesus was, it must be confessed, neither pure nor profound. It is a standing enigma why French art, which in painting grasps nature with a directness and vigour, with an objectivity in the best sense of the word, such as is scarcely to be found in the art of any other nation, has in poetry treated it in a fashion which scarcely ever goes beyond the lyrical and sentimental, the artificial, the subjective, in the worst sense of the word. Renan is no exception to this rule, any more than Lamartine or Pierre Loti. He looks at the landscape with the eye of a decorative painter seeking a _motif_ for a lyrical composition upon which he is engaged. But that was not noticed by the many, because they, after all, were accustomed to have nature dressed up for them, and had had their taste so corrupted by a certain kind of lyricism that they had lost the power of distinguishing between truth and artificiality. Even those who might have noticed it were so astonished and delighted at being shown Jesus in the Galilaean landscape that they were content to yield to the enchantment.