ONE: Above all, he exclaims, we must not fail to notice what effect this doctrine has on the minds of those whom they have persuaded to despise the world and all that it contains. Of the two chief methods for attaining the supreme good, one has sensual pleasure for its end, the other virtue, the effort after which begins and ends with God. Epicurus, by his denial of providence, leaves us no choice but to pursue the former. But this doctrine [Gnosticism], involving as it does a still more insolent denial of divine order and human law, laughs to scorn what has always been the accepted ideal of conduct, and, in its rage against beauty, abolishes temperance and justicethe justice that is associated with natural feeling and perpetuated by discipline and reasonalong with every other ennobling virtue. So, in the absence of true morality, they are given over to pleasure and utility and selfish isolation from other menunless, indeed, their nature is better than their principles. They have an ideal that nothing here below can satisfy, and so they put off the effort for its attainment to a future life, whereas they should begin at once, and prove that they are of divine race by fulfilling the duties of their present state. For virtue is the condition of every higher aspiration, and only to those who disdain sensual enjoyment is it given to understand the divine. How far our opponents are from realising this is proved by their349 total neglect of ethical science. They neither know what virtue is, nor how many virtues there are, nor what ancient philosophy has to teach us on the subject, nor what are the methods of moral training, nor how the soul is to be tended and cleansed. They tell us to look to God; but merely saying this is useless unless they can tell us what the manner of the looking is to be. For it might be asked, what is to prevent us from looking to God, while at the same time freely indulging our sensual appetites and angry passions. Virtue perfected, enlightened, and rooted in the soul, will reveal God to us, but without it he will remain an empty name.521
TWO:In sculpture at this period we stood much lower than in painting. Here we had no Hogarth, nor even a Thornhill. All that was of any value in this art proceeded from the chisels of foreigners, and even in that what an immense distance from the grand simplicity of the ancients! The sculpture of Italy and France was in the ascendant, but Bernini and Roubiliac had little in common with Phidias and Praxiteles, and our own sculptors presented a melancholy contrast to the work of artists of the worst age of Greece or Rome; there is scarcely a name that is worth mentioning. The best of the native sculptors was John[164] Bushnell, who was employed by Wren to execute the statues of the kings at Temple Bar; and Francis Bird, who was also employed later by Wren to execute "The Conversion of St. Paul," in the pediment of the new cathedral, the bas-reliefs under the portico, and the group in front, all of a very ordinary character. His best work is the monument of Dr. Busby in the transept of Westminster Abbey. Besides this he executed the monument of Sir Cloudesley Shovel, also at Westminster, and the bronze statue of Henry VI., in the quadrangle of Eton College, both very indifferent. Gibbs and Bird executed the ponderous and tasteless monument of Holles, Duke of Newcastle, at Westminster, and the fine old minster is disgraced by a crowd of still more contemptible productions of this period. These can only be equalled in wretchedness by the works of a trading school, who supplied copies in lead of ancient gods, goddesses, shepherds, shepherdesses, etc., for the gardens of the nobility, which soon swarmed in legions in all the gardens and areas in and around the metropolis. Amongst the chief dealers in this traffic were Cheere and Charpentier, who employed foreign artists, even, for such images, and it was the fortune of Roubiliac to commence his English career with the former of these traders. The three chief foreigners of this period were Rysbraeck, Scheemakers, and Roubiliac, who were copyists of the French sculptors Coysevox, Bouchardon, and Le Moyne, as these had been of Bernini.
