s." Bateman: "And which are you for, Gothic with Handel,
or Roman with Gregorian?" Campbell: "For both in their place. I
exceedingly prefer Gothic architecture to classical. I think it is the
one true child and development of Christianity; but I won't for that
reason discard the Pagan style which has been sanctified by eighteen
centuries, by the exclusive love of many Christian countries, and by
the sanction of a host of saints. I am for toleration. Give Gothic an
ascendancy; be respectful towards classical."... Reding: "Much as I
like modern music, I can't quite go the length to which your doctrine
would lead me. I cannot, indeed, help liking Mozart; but surely his
music is not religious?" Campbell: "I have not been speaking in
defence of particular composers, figured music may be right, yet
Mozart or Beethoven inadmissible. In like manner you don't suppose,
because I tolerate Roman architecture, that therefore I like naked
cupids to stand for cherubs, and sprawling women for the cardinal
virtues.... Besides, as you were saying yourself just now, we must
consult the genius of our country, and the religious associations of
our people." Bateman: "Well, I think the perfection of sacred music is
Gregorian set to harmonies; there you have the glorious old chants,
and just a little modern richness." Campbell: "And I think it just the
worst of all, it is a mixture of two things, each good in itself, and
incongruous together. It's a mixture of the first and second courses
at table. It's like the architecture of the _facade_ at Milan,
half-Gothic, half-Grecian." Reding: "It's what is always used, I
believe." Campbell: "Oh, yes, we must not go against the age, it would
be absurd to do so. I only spoke of what was right and wrong on
abstract principles; and to tell the truth, I can't help liking the
mixture myself, though I can't defend it."[59]

[Footnote 58: "I think with you that what is called Gregorian is but a
_style_ of music: viz., before the fixing of the diatonic scale, and
the various keys as rising out of it. The Pagan and Jewish tunes are
_necessarily_ in this style. And in this sense certainly the Gregorian
comes from the Pagan _and_ the Jewish. The names 'Lydian,' 'Phrygian,'
&c., look like Pagan. One should think, however, some _must_ be
Jewish. I can't answer your question about the genuineness of the
professed specimen of Pagan, as in Rousseau's Dictionary. Will
Rousseau answer your question? All true art comes