After treating the intellectualism of Hegel and his followers, Bavinck turns to the Romanticism of the period which oriented religious thought along the affective and aesthetic domain of the human person. This domain of feeling was thought to be the proper domain for religion, not the rational domain strictly speaking, though the concerns of modern reason and skepticism were never far away. Romanticism was found in Wordsworth and Coleridge in England, Rousseau in France, and, most importantly for dogmatics, Schleiermacher in Germany. Here is a brief excerpt from Bavinck’s incisive appraisal of this approach:
One then, naturally, slips into the error of confusing and equating religious feeling with sensual and aesthetic feeling. Known to us all from history is the kinship between religious and sensual [erotic] love and the passage from one to the other. But equally dangerous is the confusion of religious and aesthetic feeling, of religion and art. The two are essentially distinct. Religion is life, reality; art is ideal, appearance. Art cannot close the gap between the ideal and reality. Indeed, for a moment it lifts us above reality and induces us to live in the realm of ideals. But this happens only in the imagination. Reality itself does not change on account of it. Though art gives us distant glimpses of the realm of glory, it does not induct us into that realm and make us citizens of it. Art does not atone for our guilt, or wipe away our tears, or comfort us in life and death.
[Reformed Dogmatics, volume 1, p. 267]
To be clear, Bavinck does note the positive connection between religion and art: “From the beginning religion and art went hand in hand. The decline of the one brought with it the decay of the other. The ultimate driving force of art was religion. …In religion, specifically in worship, the imagination has its rightful place and value.” (Ibid., emphasis mine)