Page:The way of Martha and the way of Mary (1915).djvu/101

Rh Something that has been praised for all time, and that will be praised for ever. Any narrow conception is necessarily wrong. It does not matter that many a worshipper has a low or superstitious idea of the God he worships. We are all comparatively narrow—even the widest-eyed of us. It does not matter that many deny intellectually that they are praising at all. We at least know by what we have heard, by bursts of universal praising borne in upon our ears, that all there is, is praising. That is one of the reasons why frescoes touch the soul, they remind us of a truth we know in ourselves that the face of every human being, good or evil, is turned towards God, as the flowers turn their blossoms to the sun.

Russia has her modern frescoes, for she has rediscovered the art of painting on wet plaster. She has also her ancient Byzantine frescoes—the expression of the early Church. There is something in them all that expresses the idea of choric praise, "the same yesterday, to-day and for ever."

Rozanof very suggestively remarks that archaeologists are poets, in that they turn their backs on present-day reality and go to live with a time a thousand or two thousand years ago, holding that time to be as great a reality as the present day. They realise that the Past lives. We make a mistake when we talk of the dead past. It is a great religious truth that all that has ever lived lives for ever.