[1] See vol. i., pp. 31-32.

[2] “Apologia pro Vita Sua,” p. 139.

[3] “It would require the . . . magic pen of Sir Walter to catalogue and to picture . . . that most miserable procession” ("Callista:  a Sketch of the Third Century,” 1855; chapter, “Christianos ad Leones").  It is curious to compare this tale of the early martyrs, Newman’s solitary essay in historical romance, with “Hypatia.”  It has the intellectual refinement of everything that came from its author’s pen; and it has strong passages like the one describing the invasion of the locusts.  But, upon the whole, Newman was as inferior to Kingsley as a novelist as he was superior to him in the dialectics of controversy.

[4] See the entire section “Selections from Newman,” by Lewis G. Gates, New York, 1895.  Introduction, pp. xlvi-lix.

[5] “Essays Critical and Historical” (1846).

[6] “Reminiscences,” Thomas Mozley, Boston, 1882.

[7] “Life and Letters of Dean Church,” London, 1894.

[8] “Recollections of Aubrey de Vere,” London, 1897.

[9] “Idea of a University” (1853).  See also in “Parochial and Plain Sermons” the discourse on “The Danger of Accomplishments,” and that on “The Gospel Palaces.”  In the latter he writes, speaking of the cathedrals:  “Unhappy they who, while they have eyes to admire, admire them only for their beauty’s sake; . . . who regard them as works of art, not fruits of grace.”

[10] Cardinal Wiseman had a decided preference for Renaissance over Gothic, and the churches built under his authority were mostly in Italian styles.

[11] “William George Ward and the Oxford Movement,” London, 1889, pp. 153-55.

[12] “Recollections,” p. 309.

[13] Frederick William Faber, one of the Oxford men who went over with Newman in 1845, and became Superior of the Oratory of St. Philip Neri, was a religious poet of some distinction.  A collection of his hymns was published in 1862.

[14] “Ritterzeit und Ritterwesen.”

[15] See vol. i., pp. 221-26.

[16] Vol. i., p. 44 (ed. 1846).

[17] Ibid., pp. 315-16.

[18] Ibid., p. 350.

[19] See vol. i., chap. vii., “The Gothic Revival.”

[20] A view of Fonthill Abbey, as it appeared in 1822, is given in Fergusson’s “History of Modern Architecture,” vol. ii., p. 98 (third ed.).

[21] For Scott’s influence on Gothic see Eastlake’s “Gothic Revival,” pp. 112-16.  A typical instance of this castellated style in America was the old New York University in Washington Square, built in the thirties.  This is the “Chrysalis College” which Theodore Winthrop ridicules in “Cecil Dreeme” for its “mock-Gothic” pepper-box turrets, and “deciduous plaster.”  Fan traceries in plaster and window traceries in cast iron were abominations of this period.

[22] Vide supra, p. 153.