Joris-Karl Huysmans,
Against the Grain — Chapter VII
(1926)
“ He sought for motives to account for the change in himself; yes, he must have been forcibly drawn in the direction of the priesthood because the Church, and the Church only, has preserved the art, the lost beauty of the centuries; she has stereotyped, even in the cheap modern reproductions, the patterns of metal work, preserved the charm of chalices slim and tall as petunias, of sacred vessels of exquisite curves and contours, safeguarded, even in aluminium, in sham enamel, in coloured glass, the grace of the models of olden days. ”
