Because of Catholicism’s insistence on beauty as a theological necessity, as a manifestation of divine order in sensible form, it has, surprisingly, sometimes even been adopted by gay creatives from Oscar Wilde in the 19th Century, Karl Lagerfeld in the 20th, to Dolce and Gabbana today. The elaborate liturgy, the vestments, the architecture, the music; these weren’t decorations applied to worship but constituted worship itself. Beauty was the form truth took when it entered the world.
Many of the characters in Converts, like Graham Greene, explicitly characterized their Catholicism as intellectually rather than emotionally motivated. Lord Alfred Douglas claimed that “The ritual, although I had always liked it and thought it beautiful, did not influence me in the very slightest degree”; Maurice Baring was “less interested in the aesthetic aspects of the faith . . . than in the rational arguments” and declared that “candles and incense never did . . . affect me”; Evelyn Waugh, according to his friend Christopher Sykes, had a “rational” approach to his faith, “remarkable for a lack of emotion”; similarly, Muriel Spark insisted that her faith was “dogmatic rather than emotional.”
