From a reading of The Institutes of Christian Religion, The Tracts, and much of the Correspondence of Calvin, I am impressed with the fact that Calvin allowed very little place in his life for purely aesthetic enjoyment of art. His whole attention was directed to theological matters and the precise, and to him the inevitable, relation which these theological matters bore to human conduct. His was a keen, penetrating mind, sharpened by legalistic training, which had never gone through the torment of doubt that so affected Luther. Calvin based every thought on the scriptures. He did not speak for himself, but was only the interpreter of the Scriptures. On the one hand this made him very humble, but on the other since he was admittedly the most astute theologian of his day, he could not conceive of anyone doubting the truth and the authority of his interpretations. Little did he realize that he was attempting to set up a new form of religious tyranny, and in many respect succeeding. Calvin was completely ignorant of any approach to truth except by the way of logic and cold reason. There was nothing of the mystic about him as there was in Luther. He was lacking in imagination and in a sensitiveness to visual and aural beauty. In vain may one search for a single reference in his works to the beauty of Lake Geneva or of the Alps. Any man who would set out looking for a wife with a blue print of the desired qualities of his future mate in his hand, asking his friends for candidates, lacks qualities which we expect to find in a normal human being. But Calvin was not a normal human being. He was an organizing genius, wholly concerned with the matters of theology and conduct. His condemnation of Servetus has usually been cited as an example of his hardness of heart. Calvin's love for the classic poets, and the clear concise style of his own writing stand in welcome contrast to his lack of artistic sensitivity toward the other art media. I would not consider his encouragement of the congregational singing of the Psalms as showing a love of music as such, but only a realization of the power of music to help in bringing the word to the hearts of the people.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "From a reading of The Institutes of Christian Religion, The Tracts, and much of the Correspondence of Calvin, I am impressed with the fact that Calvin allowed very little place in his life for purely aesthetic enjoyment of art. His whole attention was directed to theological matters and the precise, and to him the inevitable, relation which these theological matters bore to human conduct. His was a keen, penetrating mind, sharpened by legalistic training, which had never gone through the torment of doubt that so affected Luther. Calvin based every thought on the scriptures. He did not speak for himself, but was only the interpreter of the Scriptures. On the one hand this made him very humble, but on the other since he was admittedly the most astute theologian of his day, he could not conceive of anyone doubting the truth and the authority of his interpretations. Little did he realize that he was attempting to set up a new form of religious tyranny, and in many respect succeeding. Calvin was completely ignorant of any approach to truth except by the way of logic and cold reason. There was nothing of the mystic about him as there was in Luther. He was lacking in imagination and in a sensitiveness to visual and aural beauty. In vain may one search for a single reference in his works to the beauty of Lake Geneva or of the Alps. Any man who would set out looking for a wife with a blue print of the desired qualities of his future mate in his hand, asking his friends for candidates, lacks qualities which we expect to find in a normal human being. But Calvin was not a normal human being. He was an organizing genius, wholly concerned with the matters of theology and conduct. His condemnation of Servetus has usually been cited as an example of his hardness of heart. Calvin's love for the classic poets, and the clear concise style of his own writing stand in welcome contrast to his lack of artistic sensitivity toward the other art media. I would not consider his encouragement of the congregational singing of the Psalms as showing a love of music as such, but only a realization of the power of music to help in bringing the word to the hearts of the people." in the context of "Leslie P. Spelman, “Calvin and the Arts”, The Journal of Aesthetics and Art Criticism, Vol. 6, No. 3 (Mar., 1948), p. 246." to mean that wisdom is timeless.