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Both scenes illustrate Signor Fogazzaro's power to achieve the highest artistic results without exaggeration. This naturalness is the more remarkable because the character of a saint is unnatural according to our modern point of view.
She had been lately absorbed, with that intensity she could still, at fifty, throw into the most diverse things, in a piece of new embroidery, reproducing a gorgeous Italian design; and in a religious novel of Fogazzaro's. Also she had been watching birds, for hours, with a spy-glass in the park. She said to herself that she had better have been watching her son.
Even in the Catholic Church there is a "modernist" rebellion; read the books of the "Sillon", and Fogazzaro's trilogy of novels, "The Saint", and you will see a genuine and vital protest against the economic corruption of the Church.
I should be rather more surprised if I went through Italy and met none of Verga's or Fogazzaro's, but that would be because I already knew Italy a little. In fact, I suspect that the last delight of truth in any art comes only to the connoisseur who is as well acquainted with the subject as the artist himself.
However this may be, Senator Fogazzaro's book, filled with the Liberal and Christian spirit, has been eagerly caught up as the mouthpiece of the Christian Democrats, and indeed of all intelligent Catholics in Italy, who have always held that religion and patriotism are not incompatible, and that the Church has most injured itself in prolonging the antagonism.
These writers in Venetian they are named because in no other Italian dialect has work so popular as Goldoni's been done, nor so excellent as Signor Fogazzaro's have left the unlettered local language in which they loved to deal, to its proper limitations. They have not given weighty things into its charge, nor made it heavily responsible.
We have a healthy distrust of ascetics, whose anxiety over their soul's condition we properly regard as a form of egotism; and we know how easily the unco' guid become prigs. Fogazzaro's hero is neither an egotist of the ordinary cloister variety, nor a prig.
These writers in Venetian they are named because in no other Italian dialect has work so popular as Goldoni's been done, nor so excellent as Signor Fogazzaro's have left the unlettered local language in which they loved to deal, to its proper limitations. They have not given weighty things into its charge, nor made it heavily responsible.
The probability of restoring friendly relations between Church and State is a matter of concern to everybody in Italy; but of even greater concern are the implications which issue from Signor Fogazzaro's thought. He is an evolutionist; he respects the higher criticism; he knows that religions, like states and secular institutions, have their birth and growth and inevitable decay.
I should be rather more surprised if I went through Italy and met none of Verga's or Fogazzaro's, but that would be because I already knew Italy a little. In fact, I suspect that the last delight of truth in any art comes only to the connoisseur who is as well acquainted with the subject as the artist himself.
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