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Updated: June 12, 2025
One of the chief modernists said to me the other day: "Temple is the most dangerous man in the Church of England. He is not only a socialist, he is also Gore's captive, bow and spear." But another, by no means an Anglo-Catholic, corrected this judgment. "Temple," said he, "is not yet hopelessly Catholic.
It would be easy enough to contend that painting had nothing whatever to do with religion if only by reference to the godless efforts of some of the modernists; but such a contention could only be based on the imperfect recognition of what religion actually means. In Italy in the thirteenth century, as in Spain in the seventeenth, it meant the Church of Rome.
No influence of these painters has been notable, excepting for a time in the early experience of one of the younger modernists who, by reason of definite associations of birthright and relativity of environment, essayed to claim Albert Ryder as a very definite influence; just as Courbet and Corot must in their ways have been powerful influences upon Ryder himself.
This is that "Scholasticism" and "Mediævalism" against which the modernists inveigh or under which they groan; and to this intellectual barrenness may be added the offences against taste, verisimilitude, and justice which their more critical minds may discern in many an act and pronouncement of their official superiors.
But the following years were to see the flowing back of Catholicism into literature, the Universities, the Ecole Normale. Twenty years later I quoted this remark of Scherer's to a young French philosopher. "True, for its date," he said. But they are all Modernists!"
The contents of the box were mistaken for reinforcements for the charity clothing store, and to-day my purple chambray gown, "to memory dear," walks the street on another. Sic transit. I should add that one of the modernists of our harbour has chosen it. The old conservatives regard our collarless necks and abbreviated skirts with horror.
To divorce, then, as the modernists do, the history of the world from the story of salvation, and God's government and the sanctions of religion from the operation of matter, is a fundamental apostasy from Christianity.
Just as such figures give a fictitious impression of unity between the crowds fighting for different flags and frontiers, so there are similar figures giving a fictitious unity to the crowds following different creeds. There are already Moslems who are Modernists; there have always been a ruling class of Jews who are Materialists.
We are not Modernists here." The spectacles, alone visible, answered: "Well, let us discuss it then. Let us talk things over. Let me ask you at once, Have you something against me, something that I have done unwittingly? I have fancied lately a personal note.... I am absurdly sensitive, but if there is anything that I have done, please let me apologise for it. I want you to tell me."
For Newman, as for his disciples the Modernists, theological terms are only symbols for varying values, and he holds that the moment they are treated as having any fixed connotation, error begins. It is no wonder if learned Catholics thought that Newman did not play the game.
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