INTRODUCTION
Son of God, and trace his rayed nimbus in the gold thread of Chinese embroideries or the gold lacquer of Chinese pottery, instead of in the gold leaf of our own old Catholic paintings, there would be a unanimous testimony to the spiritual purity of the story. We should hear nothing then of the injustice of substitution or the illogicality of atonement, of the superstitious exaggeration of the burden of sin or the impossible insolence of an invasion of the laws of nature. We should admire the chivalry of the Chinese conception of a god who fell from the sky to fight the dragons and save the wicked from being devoured by their own fault and folly. We should admire the subtlety of the Chinese view of life, which perceives that all human imperfection is in very truth a crying imperfection. We should admire the Chinese esoteric and superior wisdom, which said there are higher cosmic laws than the laws we know; we believe every common Indian conjurer who chooses to come to us and talk in the same style. If Christianity were only a new oriental fashion, it would never be reproached with being an old and oriental faith. I do not propose in this book to follow the alleged example of St. Francis Xavier with the opposite imaginative intention, and turn the Twelve Apostles into Mandarins; not so much to make them look like natives as to make them look like foreigners. I do not propose to work what I believe would be a completely successful practical joke; that of telling the whole story of the Gospel and the whole history of the church in a setting of pagodas and pigtails; and noting with malignant humour how much it was admired as a heathen story, in the very quarters where it is condemned as a Christian story. But I do pro-
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