It is no very great violence to include rhetoric, music, painting, sculpture, architecture, ritual, and every form of decorative art in the category of language and to bring them under the same general laws, since even philosophy may to a large extent be treated in the same way. Christ has not commissioned His Church to teach science or philosophy, nor has He given her an infallible _magisterium_ in matters of fine art. She uses what she finds in use and endeavours with the imperfect implements, the limited colours, the coarse materials at her disposal to make the picture of Christ and His truth stand out as faithful to reality as possible; and--to press the illustration somewhat crudely--as what is rightly black, in a study in black and white, may be quite wrongly black in polychrome; so what the Church approves according to one convention, she may condemn according to another. May we not apply to her what Durtal says of our Lady: "She seems to have come under the semblance of every race known to the middle ages; black as an African, tawny as a Mongolian;"--"she unveils herself to the children of the soil ... these beings with their rough-hewn feelings, their shapeless ideas, hardly able to express themselves"? The more we study the visions and apparitions with which saints have been favoured and the revelations which have been vouchsafed to them, the more evident is it that they are spoken to in their own language, appealed to through their own imagery. Indeed, were it not so, how could they understand? Our Lady is the all-beautiful for every nation, but the type of human beauty is not the same for all. The Madonna of the Ethiopian might be a rather terrifying apparition in France or Italy.