imagery to blaspheme the medieval religion. Ruskin's dark and doubtful decision to accept Catholic art but not Catholic ethics had borne rapid or even flagrant fruit by the time that Swinburne, writing about a harlot, composed a learned and sympathetic and indecent parody on the Litany of the Blessed Virgin.
With the poets I deal in another part of this book; but the influence of Ruskin's great prose touching art criticism can best be expressed in the name of the next great prose writer on such subjects. That name is Walter Pater: and the name is the full measure of the extent to which Ruskin's vague but vast influence had escaped from his hands. Pater's eventual leaning toward Rome would not have pleased Ruskin at all; but it is surely fair to say of the mass of his work that its moral tone is neither Puritan nor Catholic, but strictly and splendidly Pagan. In Pater we have Ruskin without the prejudices, that is, without the funny parts. I may be wrong, but I cannot recall at this moment a single
