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 mind, attracting it as by charm of sound or vision, by spell of colour or of dream, towards the Christian forms and images, is in the main an influence from the mythologic side of the creed. It is from the sandbanks of tradition and poetry that the sacred sirens have sung to this seafarer. This divides him at once from the passionate evangelists of positive belief and from the artists upon whom no such influence has fallen in any comparable degree. There are two living and leading writers of high and diverse genius whom any student of their work—utterly apart as their ways of work lie—may and must, without prejudice or presumption, assume to hold fast, with a force of personal passion, the radical tenet of Christian faith. It is as difficult for a reasonable reader to doubt the actual and positive adherence to Christian doctrine of the Protestant thinker as of the Catholic priest; to doubt that faith in Christ as God—a tough, hard, vital faith which can bear at need hard stress of weather and hard thought—dictated "A Death in the Desert" or "Christmas Eve and Easter Day," as to doubt that it dictated the "Apologia" or "Dream of Gerontius:" though neither in the personal creed set forth by Mr. Browning nor in the clerical creed delivered by Dr. Newman do we find apparent or flagrant—however they may lurk, tacit and latent, in the last logical expression of either man's theories—the viler forms and more hideous outcomes of Christianity, its more brutal aspects and deadlier consequences; a happy default due rather to nobility of instinct than to ingenuity of evasion. Now the sacred art of Mr. Rossetti, for all its Christian colouring, has actually no more in common with the spirit of