* * * * *

    “Maneant in vobis Fides, Spes, Caritas. 
    Tria haec:  major autem horum est Caritas.

“An artist must have at least Faith, faith in God and faith in his art; for it is Faith that disposes him to learn, and by his learning to raise himself higher and higher on the ladder of Being, up to his goal, which is God.

“An artist should practise Hope; for he can expect nothing from the present; he knows that his mission is to serve, and to give his work for the life and teaching of the generations that shall come after him.

     “An artist should be inspired by a splendid Charity—­’the greatest
     of these.’  To love should be his aim in life; for the moving
     principle of all creation is divine and charitable Love.”

Who speaks like this?  Is it the monk Denys in his cell at Mount Athos?  Or Cennini, who spread the pious teaching of the Giotteschi?  Or one of the old painters of Sienna, who in their profession of faith called themselves “by the grace of God, those who manifest marvellous things to common and illiterate men, by the virtue of the holy faith, and to its glory”?

No; it was the director of the Schola Cantorum, addressing the students in an inaugural speech, or giving them a lecture on Composition.[140]

[Footnote 140:  Vincent d’Indy:  Cours de Composition musicale, Book I, drawn up from notes taken in Composition classes at the Schola Cantorum, 1897-1898, p. 16 (Durand, 1902).  See also the inaugural speech given at the school, and published by the Tribune de Saint-Gervais, November, 1900.]

We must consider a little this singular book, where a living science and a Gothic spirit are closely intermingled (I use the word “Gothic” in its best sense; I know it is the highest praise one can give M. d’Indy).  This work has not received the attention it deserves.  It is a record of the spirit of contemporary art; and if it stands rather apart from other writings, it should not be allowed to pass unnoticed on that account.

In this book, Faith is shown to be everything—­the beginning and the end.  We learn how it fans the flame of genius, nourishes thought, directs work, and governs even the modulations and the style of a musician.  There is a passage in it that one would think was of the thirteenth century; it is curious, but not without dignity: 

“One should have an aim in the progressive march of modulations, as one has in the different stages of life.  The reason, instincts, and faith that guide a man in the troubles of his life also guide the musician in his choice of modulations.  Thus useless and contradictory modulations, an undecided balance between light and shade, produce a painful and confusing impression on the hearer, comparable to that which a poor human being inspires when he is feeble and inconsistent, buffeted between the East and the West in the course of his unhappy life, without an aim and without belief."[141]

[Footnote 141:  Vincent d’Indy, Cours de Composition musicale, p. 132.]