“If this movement in the church had only revived a taste for Christian architecture,” said Lady Maud, “it would not have been barren, and it has done so much more! But I am surprised that old families can be so dead to our national art; so full of our ancestors, their exploits, their mind. Indeed you and I have no excuse for such indifference Mr Egremont.”
“And I do not think I shall ever again be justly accused of it,” replied Egremont, “you plead its cause so effectively. But to tell you the truth, I have been thinking of late about these things; monasteries and so on; the influence of the old church system on the happiness and comfort of the People.”
“And on the tone of the Nobles--do not you think so?” said Lady Maud. “I know it is the fashion to deride the crusades, but do not you think they had their origin in a great impulse, and in a certain sense, led to great results? Pardon me, if I speak with emphasis, but I never can forget I am a daughter of the first crusaders.”
“The tone of society is certainly lower than of yore,” said Egremont. “It is easy to say we view the past through a fallacious medium. We have however ample evidence that men feel less deeply than of old and act with less devotion. But how far is this occasioned by the modern position of our church? That is the question.”
“You must speak to Mr St Lys about that,” said Lady Maud. “Do you know him?” she added in a lowered tone.
And looking in that direction, on the left hand of Lady Mowbray, Egremont beheld a gentleman in the last year of his youth, if youth according to the scale of Hippocrates cease at thirty-five. He was distinguished by that beauty of the noble English blood, of which in these days few types remain; the Norman tempered by the Saxon; the fire of conquest softened by integrity; and a serene, though inflexible habit of mind. The chains of convention, an external life grown out of all proportion with that of the heart and mind, have destroyed this dignified beauty. There is no longer in fact an aristocracy in England, for the superiority of the animal man is an essential quality of aristocracy. But that it once existed, any collection of portraits from the sixteenth century will show.