rth to Beethoven."

"Modern music, then, could not be in ancient times, for want of modern
instruments," said Campbell; "and, in like manner, Gothic architecture
could not exist until vaulting was brought to perfection. Great
mechanical inventions have taken place, both in architecture and in
music, since the age of basilicas and Gregorians; and each science has
gained by it."

"It is curious enough," said Reding, "one thing I have been accustomed
to say, quite falls in with this view of yours. When people who are not
musicians have accused Handel and Beethoven of not being _simple_, I
have always said, 'Is Gothic architecture _simple_?' A cathedral
expresses one idea, but it is indefinitely varied and elaborated in its
parts; so is a symphony or quartett of Beethoven."

"Certainly, Bateman, you must tolerate Pagan architecture, or you must
in consistency exclude Pagan or Jewish Gregorians," said Campbell; "you
must tolerate figured music, or reprobate tracery windows."

"And which are you for," asked Bateman, "Gothic with Handel, or Roman
with Gregorians?"

"For both in their place," answered Campbell. "I exceedingly prefer
Gothic architecture to classical. I think it 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."

The conversation slackened. "Much as I like modern music," said
Charles, "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."

"I have not been speaking in defence of particular composers," said
Campbell; "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." He paused.
"Besides," he added, "as you were saying yourself just now, we must
consult the genius of our country and the religious associations of our
people."

"Well," said Bateman, "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."

"And I think it just the worst of all," answered Campbell; "