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 saints, such as St. Catharine of Bologna, St. Peter of Alcantara, St. Rosa of Lima, together with sermons on state occasions.

Maximilian Deza just escaped being a really great orator, like Segneri, whom he much resembles in his vehemence, zeal, fine word-painting, and brilliant transitions. There is nothing heavy or dull about his sermons; they are calculated to rivet the attention of an audience, and they appeal earnestly to the conscience. They are not sermons to be read in measured tones from the pulpit, but to be declaimed with flashing eye, modulated voice, and vehement gesture. To modern readers Deza seems to play with an idea in a manner unsuitable to our nineteenth century ideas of pulpit proprieties; but it must be borne in mind that his discourses are long, lasting sometimes two hours, and the mind of the hearer would need rest, it would only be fatigued if kept constantly on the stretch. Viewed thus, it will be seen that Deza handles his matter with great skill; he works one point of his subject to a climax,—you hold your breath even in reading him—and then he gently drops the point, and gives time for relaxation of the attention till he deems it fit to produce another effect, just as in a drama the sensational scenes are separated from each other by the talkee-talkee scenes in the front groove. But these intermediate portions of Deza’s sermons are by no means dull; they are light and pleasant trifles with which he toys, but which lead on insensibly to his point, just as the small beads of a rosary draw the fingers on to the larger ones.

Take his sermon for Ash-Wednesday as an example.