The second is on the great danger of setting an evil example.
The third is on the funeral taper, by the light of which those truths, which man saw not in the day of his life, are then most evidently discerned.
For the Annunciation he gives three sermons. The first on the modesty of Mary, which all should imitate. The second is on the general confession of sin made in Lent. The third is on the promptitude with which man should act on Divine impulses.
It is true that De Barzia uses strong language from which we should dissent, on the feasts of the Assumption and the Nativity of Mary; but the fact of letting two of her festivals pass without pointing her out as a prominent object of worship is what, I should suppose, no modern Ultramontane would do.
I must now turn to a bright and pleasant feature in these preachers—their keen appreciation of the beauty of nature. This indeed had been a distinguishing characteristic of the Middle Ages. In architecture, in painting, and in poetry, even in preaching, the great book of nature had been studied, and its details reproduced. As the sculptor delighted to represent in stone beast, and bird, and plant; as the painter rejoiced to transfer to canvas, with laborious minuteness, the tender meadow flowers; so did the preacher pluck illustration from the book of nature, or refer his hearers to it, for examples of life.
With the Renaissance, the artist turned from the contemplation of God’s handiwork, but not so the sacred orator. In him the same love for the works
