And then, in this hour of expansion, as if now at last the catholic church might venture to show her outward lineaments as they really were, worship—“the beauty of holiness,” nay! the elegance of sanctity—was developed, with a bold and confident gladness, the like of which has hardly been the ideal of worship in any later age. The tables in fact were turned: the prize of a cheerful temper on a candid survey of life was no longer with the pagan world. The aesthetic charm of the catholic church, her evocative power over all that is eloquent and expressive in the better mind of man, her outward comeliness, her dignifying convictions about human nature:—all this, as abundantly realised centuries later by Dante and Giotto, by the great medieval church-builders, by the great ritualists like Saint Gregory, and the masters of sacred music in the middle age—we may see already, in dim anticipation, in those charmed moments towards the end of the second century. Dissipated or turned aside, partly through the fatal mistake of Marcus Aurelius himself, for a brief space of time we may discern that influence clearly predominant there. What might seem harsh as dogma was already justifying itself as worship; according to the sound rule: Lex orandi, lex credendi—Our Creeds are but the brief abstract of our prayer and song.
The wonderful liturgical spirit of the church, her wholly unparalleled genius for worship, being thus awake, she was rapidly reorganising both pagan and Jewish elements of ritual, for the expanding therein of her own new heart of devotion. Like the institutions of monasticism, like the Gothic style of architecture, the ritual system of the church, as we see it in historic retrospect, ranks as one of the great, conjoint, and (so to term them) necessary, products of human mind. Destined for ages to come, to direct with so deep a fascination men’s religious instincts, it was then already recognisable as a new and precious fact in the sum of things. What has been on the whole the method of the church, as “a power of sweetness and patience,” in dealing with matters like pagan art, pagan literature was even then manifest; and has the character of the moderation, the divine moderation of Christ himself. It was only among the ignorant, indeed, only in the “villages,” that Christianity, even in conscious triumph over paganism, was really betrayed into iconoclasm. In the final “Peace” of the Church under Constantine, while there was plenty of destructive fanaticism in the country, the revolution was accomplished in the larger towns, in a manner more orderly and discreet—in the Roman manner. The faithful were bent less on the destruction of the old pagan temples than on their conversion to a new and higher use; and, with much beautiful furniture ready to hand, they became Christian sanctuaries.
Already, in accordance with such maturer wisdom, the church of the “Minor Peace” had adopted many of the graces of pagan feeling and pagan custom; as being indeed a living creature, taking up, transforming, accommodating still more closely to the human heart what of right belonged to it. In this way an obscure synagogue was expanded into the catholic church. Gathering, from a richer and more varied field of sound than had remained for him, those old Roman harmonies, some notes of which Gregory the Great, centuries later, and after generations of interrupted development, formed into the Gregorian music, she was already, as we have heard, the house of song—of a wonderful new music and poesy. As if in anticipation of the sixteenth century, the church was becoming “humanistic,” in an earlier, and unimpeachable Renaissance. Singing there had been in abundance from the first; though often it dared only be “of the heart.” And it burst forth, when it might, into the beginnings of a true ecclesiastical music; the Jewish psalter, inherited from the synagogue, turning now, gradually, from Greek into Latin—broken Latin, into Italian, as the ritual use of the rich, fresh, expressive vernacular superseded the earlier authorised language of the Church. Through certain surviving remnants of Greek in the later Latin liturgies, we may still discern a highly interesting intermediate phase of ritual development, when the Greek and the Latin were in combination; the poor, surely!—the poor and the children of that liberal Roman church—responding already in their own “vulgar tongue,” to an office said in the original, liturgical Greek. That hymn sung in the early morning, of which Pliny had heard, was kindling into the service of the Mass.
The Mass, indeed, would appear to have been said continuously from the Apostolic age. Its details, as one by one they become visible in later history, have already the character of what is ancient and venerable. “We are very old, and ye are young!” they seem to protest, to those who fail to understand them. Ritual, in fact, like all other elements of religion, must grow and cannot be made—grow by the same law of development which prevails everywhere else, in the moral as in the physical world. As regards this special phase of the religious life, however, such development seems to have been unusually rapid in the subterranean age which preceded Constantine; and in the very first days of the final triumph of the church the Mass emerges to general view already substantially complete. “Wisdom” was dealing, as with the dust of creeds and philosophies, so also with the dust of outworn religious usage, like the very
