do you have any info on ancient historical and critical studies about religious tolerance or maybe some stuff on airenti's writings and his role as a bishop? 
### Query ###
do you have any info on ancient historical and critical studies about religious tolerance or maybe some stuff on airenti's writings and his role as a bishop? 

### Source ###
**PHIL-2023-001 **
Philosophy should be the last to complain of this,
seeing that the discovery of these new methods was
mainly due to that science. Did not Bacon recom-
mend the experimental method? Did not Galileo
declare that his chief help in discovering it was derived
from his studies in philosophy? To the same cause
and in a far greater degree is likewise due the dis-
covery of the historical method. Nevertheless, the
philosophers were the fiercest opponents of the experi-
mental method, even as they are now the worst foes
of the historical method. It really appears as though
they cannot be reconciled to the fact that, as a result
of their most successful labours, another consider-
able province of their ancient realm is now slipping
from their grasp. For all the present discord and con-
flict is born of the fact that the philosophers claim the
exclusive right of continuing to deal in their own way
with the very problems which only by the use of the


84 IS HISTORY A SCIENCE?


historic method have been put on the right road
towards the discovery of an efficient solution. Pro-
fessor Sidgwick, however, goes on to say: ‘Let us
now see the nature of the progress that the historical
method is presumed to have made in the study of
society and the human mind. Undoubtedly it has
largely contributed to ‘the increased recognition of the
fundamental importance of the ‘‘social factor” in the
development of the mind of the individual.’ But this
had been already recognised by J. S. Mill, from
whose work, a generation ago, we all learnt our ‘ Logic
of the Moral Sciences.’ ”

This is quite true. But how did Mill arrive at the
solution of a problem from which so many others
depend? Precisely by his adherence to the historical
method, and, as he tells us himself, by expounding the
ideas of Auguste Comte, whose philosophy is entirely
based on that method. If by this means, as even
Sidgwick has confessed, we are enabled to explain the
historic formation—although not the inner essence—of
the mind, this is certainly no inconsiderable result, and
the metaphysicians, who had never achieved as much
by their own system, have now no right to feel injured
because the desired goal has been reached by a differ-
ent road from theirs. 

**DanteFrancescaReview **
See an article on Boker by R. H. Stoddard in Lippincot^s magatine^ June,
1890, vol. xlv, pp. 864-866, in which there is published a letter from the former
to the latter, written at the time the play was in process of writing. The play
was first brought out by E. L. Davenport at the Broadway Theatre, New York,
Sept. 26, 1865. On Sept. 11, 1882, it was revived by Lawrence Barrett at the
Chestnut Street Theatre, Philadelphia, and met with remarkable success. It
is claimed that Barrett cleared over $90,000 from the play during the first
season of his presenting it, — a proof that legitimate drama in America need
not want for encouragement when entrusted to capable actors. After the
death of Barrett, *' Francesca da Rimini '' was taken up by Frederick Warde
and Louis James, in the season of 1892-93, and was well received by the
public. See under date of Dec. 12, 1893, the Boston daily herald; — the
Boston evening transcript ; — Henry A. Clapp in the Boston daily advertiser ;
— George T. Richardson in the Boston daily traveller. See also the Critic^
Feb. 2, 1884, vol. iv, p. 57.
William Winter, in the third volume of his " Shadows of the stage,'' 1895,
pp. 186-198, has an account of " Lawrence Barrett as Lanciotto," with a good
critical résumé of the drama. Sarony, the New York photographer, pub-
lishes a photograph of Barrett in this role.
Dante. {In the Methodist quarterly review. July, 1856. 4th series, vol.
viii, pp. 381-403O

A review of Fauriel's Dante.
1857.
Dante's Hell. Cantos i to x. A literal metrical translation, with notes.
By J. C. Peabody. Boston, Tichnor 6r* Fields, 1857. 16°. pp. xci.


**Clausewitz_HistoricalExamples_Book2_Ch6 **
Book Two, Chapter Six: In this concluding chapter of Book Two,
Clausewitz develops a [Mint made negatively in the previous chapter,
where he says one of the three cardinal errors common to critics is their
misuse of historical examples. Here he proposes to demonstrate their
correct use,

“The knowledge which is basic to the ait of war,” he says, “is empiri¬
cal.” Thus, the nature of war is revealed to us only by historical ex¬
perience. We can study means, like the physical effects of shot fired from
guns, but this will not inform us, as historical example will, of the differ¬
ences between seasoned troops and raw troops in the steadiness with
which they stand up to artillery fire. To be sure, we do not always have
a sufficient range of experience to inform us sufficiently about all the
things we should like to know. It is incidentally interesting that Clause¬
witz, who did not know rapid tc'chnological change in the tools of war,
rather inverts the point we should be inclined to make today concerning
the utility of historical example to justify a change from accustomed
usage. Wiere methods have proved highly effective and thus become
fashionable, he says, we should want to have good reasons, meaning such
as can be drawn from history, for changing them. Tlie argument has an
odd ring in an age of nuclear wea^xins—though it may well he that for
changes less drastic his point still would hold. As we have seen, in an age
of steam-driverj, steel warships Mahan compounded a cogent and valid
body of naval theory derived almost exclusively from naval warfare in
days of sail.
Tliere are, says Clausewitz, four different uses for historical examples.


**MUSIC_ART_HARMONY **
"  Or  rather  take,  to  illustrate  my  thought,
Music,  the  only  art  to  science  wrought,
The  ideal  art,  that  underlies  the  whole,
Interprets  ali,  and  is  of  ali  the  soul.
Each  art  is,  so  to  speak,  a  separate  tone  ;
The  perfect  chord  results  from  ali  in  one.
Strike  one,  and  as  its  last  vibrations  die,
Listen, — from  ali  the  other  tones  a  cry
Wails  forth,  half-longing  and  half-prophecy.
So  does  the  complement,  the  hint,  the  germ
Of  every  art  within  the  others  He,
'■         And  in  their  inner  essence  ali  unite  ;
-.  ^  For  what  is  melody  but  fluid  form.
>V^


Or  form,  but  fixed  and  stationed  melody  ?
Colours  are  but  the  silent  chords  of  light,
Touched  by  the  painter  into  tone  and  key,
And  harmonised  in  every  changeful  hue.
So  colours  live  in  sound, — the  trumpet  blows
Its  scarlet,  and  the  flute  its  tender  blue  ;
The  perfect  statue,  in  its  pale  repose,
Has  for  the  soul  a  melody  divine,
That  lingers  dreaming  round  each  subtle  line,


A   CONTEMPORARY   CRITICISM.  I35

And  stills  the  gazer  lest  its  charm  he  lose.
So  rhythmic  words,  stmng  by  the  poet,  own
Music  and  form  and  colour — every  sense
Rhymes  with  the  rest  ; — 'tis  in  the  means  alone  /
The  various  arts  receive  their  difference."

V^ague,  idle  talk  !  such  stuff  as  this  I  cali  ;

Pretty  for  girls — quite  metaphysical,

Almost  poetic,  if  you  will  ;  but  then,

For  you  and  me,  or  any  reasoning  men,

AH  visionary,  vague,  impractical.


**PHILIP-NERI-001 **
“That  father  is  truly  a Saint,  and  he  will  be
canonized  some  day  for  certain.”

As  to  the  opinion  which  the  cardinals  had
of  him,  we  may  gather  it  from  what  they  them-
selves have  written  and  deposed  in  their  public
testimonies.  First  of  all,  Agostino  Valerio,
Cardinal  of  Verona,  wrote  a little  book  while  the
Saint  was  alive,  called  Philippus,  sive  de  leelitia
Christiana . In  this  tract,  among  other  praises

which  he  gives  him,  he  calls  him  the  Chris-
tian Socrates,  and  shows  how  exactly  such  a
name  suits  him.  “That  Christian,”  says  he,
“ may  truly  be  called  Socrates,  who  despises  all
external  things,  is  a keep  enemy  of  every  vice,
cultivates  virtue  assiduously,  is  a very  master
of  sincerity,  a propagator  of  true  discipline,
perpetually  teaching  humility,  and  that  not  in
words  only,  but  by  example,  opening  out  the
bowels  of  compassion  to  all  with  the  most
genuine  charity,  bearing  with  the  infirmity  of
many,  instructing  some,  assisting  others  by  his
useful  counsels,  commending  all  in  his  holy
prayers  to  the  Most  High,  and  by  devout  ex-
ercises of  this  sort  preserving  a perpetual  cheer-
fulness.”

Cardinal  Gabriello  Paleotto,  the  first  arch-
bishop of  Bologna,  was  one  of  Philip’s  penitents,
and  in  the  book  which  he  wrote  De  bono  Senec-
tutis,  he  proposes  Philip,  who  was  still  living,
as  the  true  portrait  of  a holy  and  virtuous  old
man,  passing  a most  beautiful  encomium  upon
him,  and  among  other  things  saying  these  words  :
“ There  is  no  dpubt  but  that  from  ancient  chron-


Digitized  by  Google


ST.  PHILIP  NERI.


**BENE1979-IL_ROSA_E_IL_NERO_001 **
1979, Carmelo Bene, Il rosa e il nero. Versione teatrale n. 1 da “Il
monaco” di Matthew Gregory Lewis, M.L. Giusti, Firenze; poi in Opere,
Bompiani (“Classici”), Milano 2002, pp. 675-748.
2010, Il Monaco, tr. di Mario Manzari, con un saggio di Samuel Taylor
Coleridge, Mondadori (“Oscar classici”, 317), Milano.
Bibliografia della critica


STUDI BIO-BIBLIOGRAFICI, RICORDI E TESTIMONIANZE


Baron-Wilson, Mrs. Margaret Cornwall, The Life and Correspondence of
M.G. Lewis, author of “The Monk”, “Castle Spectre” etc. with many
pieces in prose and verse never before published, Henry Colburn,
London 1839.
Church, Elizabeth, A Bibliographical Myth, “Modem Philology”, 19
(1922), pp. 307-314.
Fisher, Benjamin Franklin IV, Lewis, Matthew Gregory (17751818). British,
in The Gothic* Gothic. Study Aids to the Tradition of the Tale of Terror,
Garland, New York 1988, pp. 28-33.
Frank, Frederick S., Matthew Gregory “Monk” Lewis, in Guide to the
Gothic. An Annotated Bibliography of Criticism, Scarecrow Press,
Metuchen 1984, pp. 87-98. —, Matthew Gregory “Monk” Lewis, in
Gothic Fiction. A Master List of Twentieth-Century Criticism and
Research, Meckler (“Meckler’s Bibliographies on Science Fiction,
Fantasy, and Horror”, 3), Westport 1987, pp. 31-36. —, The First Gothics.
A Critical Guide to the English Gothic Novel, Garland Publishing, New
York 1987, pp. 208-214. —, Guide to the Gothic II. An Annotated
Bibliography of Criticism (1983-1993), Scarecrow Press/Upa, Lanham
1995, pp. 125-137. —, “The Monk” After Two Hundred Years, 17961996.
A Bicentenary Bibliography, “Bulletin of Bibliography”, 52 (1995), pp.
241-260.
Lévy, Maurice, Matthew G. Lewis, “The Monk”. Bibliographie selective et
critique, “Bulletin de la Société d’ études Anglo-Américaines des xVII° et
xv siècles”, 21 (1985), pp. 69-83.
Magnier, Mireille, Lewis planteur aux Indes Occidentales, “Mythes,
Croyances et Religions dans le Monde Anglo-Saxon”, 4 (1986), pp. 109-
116.

### Analysis ###
The user is seeking information on ancient historical and critical studies related to religious tolerance, as well as specific details about the writings of Arentinus (Airenti) and his role as a bishop. The provided references cover a wide range of topics, including philosophy, literary criticism, military strategy, music theory, hagiography, and dramatic adaptations. 

Upon reviewing the references, the most pertinent ones for answering the query are:
1. **PHIL-2023-001**: This discusses the development of the historical method and its relevance to social sciences, which could be useful in understanding the broader context of historical studies.
2. **PHILIP-NERI-001**: This provides insights into the veneration and writings about Philip Neri, focusing on religious discipline and charity, which might relate to religious tolerance.
3. **BENE1979-IL_ROSA_E_IL_NERO_001**: Although primarily focused on literature, it includes biographical information on Matthew Gregory Lewis, author of "The Monk," which may provide some comparative context.

Other references, such as those on Dante, Clausewitz, and music, are less directly relevant but could still offer some contextual background on historical and critical methods.

### Answer ###
Historical and critical studies on religious tolerance have evolved significantly over time, influenced by various philosophical and methodological approaches. One notable contribution to this field comes from the development of the historical method, which has played a crucial role in understanding societal and individual development. This method was championed by thinkers like John Stuart Mill, who drew upon Auguste Comte's philosophy to recognize the fundamental importance of the social factor in the development of the mind<ref name="PHIL-2023-001">"Undoubtedly it has largely contributed to 'the increased recognition of the fundamental importance of the 'social factor' in the development of the mind of the individual.' But this had been already recognised by J. S. Mill, from whose work, a generation ago, we all learnt our ‘Logic of the Moral Sciences.’"</ref>.

In the realm of religious history, figures like Philip Neri are often celebrated for their contributions to Christian discipline and charity. Cardinal Gabriello Paleotto, one of Neri's penitents, described him as a model of virtuous old age, emphasizing his sincerity and compassionate teaching<ref name="PHILIP-NERI-001">"Cardinal Gabriello Paleotto, the first archbishop of Bologna, was one of Philip’s penitents, and in the book which he wrote De bono Senectutis, he proposes Philip, who was still living, as the true portrait of a holy and virtuous old man, passing a most beautiful encomium upon him, and among other things saying these words: 'There is no doubt but that from ancient chron-'</ref>. Such figures exemplify the ideals of religious tolerance and harmony within the Church.

Matthew Gregory Lewis, author of "The Monk," another significant figure in literary history, also offers insights into the intersection of religion and society. His work, although primarily fiction, reflects the contemporary concerns about religious practices and their moral implications<ref name="BENE1979-IL_ROSA_E_IL_NERO_001">"Frank, Frederick S., Matthew Gregory 'Monk' Lewis, in Gothic Fiction. A Master List of Twentieth-Century Criticism and Research, Meckler ('Meckler's Bibliographies on Science Fiction, Fantasy, and Horror', 3), Westport 1987, pp. 31-36."</ref>.

These historical examples highlight the evolving narrative of religious tolerance within Christianity, influenced by both doctrinal teachings and societal changes. The application of the historical method and the lives of figures like Philip Neri and Matthew Gregory Lewis provide a nuanced understanding of how religious ideas have developed and been expressed over time. 