Protestant divine, Athanase Coquerel, spoke of religion and art in their relation to each other.
After a brief but interesting review of classic, Byzantine, and mediaeval art, M. Coquerel expressed his dissent from the generally received opinion that the Church of Rome had always been foremost in the promotion and patronage of the fine arts.
The greatest of Italian masters, he averred, while standing in the formal relations with that church, had often shown opposition to its spirit.
Michael Angelo's sonnets revealed a state of mind intolerant of ecclesiastical as of other tyranny.
Raphael, in the execution of a papal order, had represented true religion by a portrait figure of Savonarola.
Holbein and Rembrandt were avowed Protestants.
He considered the individuality fostered by Protestantism as most favorable to the development of originality in art.
With these views Colonel Higginson did not agree.
He held that Christianity had reached its highest point under the dispensat