The main question, the divine origin of the religion, was dexterously eluded, or speciously conceded by Gibbon; his plan enabled him to commence his account, in most parts, below the apostolic times; and it was only by the strength of the dark coloring with which he brought out the failings and the follies of the succeeding ages, that a shadow of doubt and suspicion was thrown back upon the primitive period of Christianity.
"The theologian," says Gibbon, "may indulge the pleasing task of describing religion as she descended from heaven, arrayed in her native purity; a more melancholy duty is imposed upon the historian:--he must discover the inevitable mixture of error and corruption which she contracted in a long residence upon earth among a weak and degenerate race of beings." Divest this passage of the latent sarcasm betrayed by the subsequent tone of the whole disquisition, and it might commence a Christian history written in the most Christian spirit of candor.

But as the historian, by seeming to respect, yet by dexterously confounding the limits of the sacred land, contrived to insinuate that it was an Utopia which had no existence but in the imagination of the theologian--as he suggested rather than affirmed that the days of Christian purity were a kind of poetic golden age;--so the theologian, by venturing too far into the domain of the historian, has been perpetually obliged to contest points on which he had little chance of victory--to deny facts established on unshaken evidence--and thence, to retire, if not with the shame of defeat, yet with but doubtful and imperfect success.
Paley, with his intuitive sagacity, saw through the difficulty of answering Gibbon by the ordinary arts of controversy; his emphatic sentence, "Who can refute a sneer ?" contains as much truth as point.

But full and pregnant as this phrase is, it is not quite the whole truth; it is the tone in which the progress of Christianity is traced, in comparison with the rest of the splendid and prodigally ornamented work, which is the radical defect in the "Decline and Fall." Christianity alone receives no embellishment from the magic of Gibbon's language; his imagination is dead to its moral dignity; it is kept down by a general zone of jealous disparagement, or neutralized by a painfully elaborate exposition of its darker and degenerate periods.

There are occasions, indeed, when its pure and exalted humanity, when its manifestly beneficial influence, can compel even him, as it were, to fairness, and kindle his unguarded eloquence to its usual fervor; but, in general, he soon relapses into a frigid apathy; affects an ostentatiously severe impartiality; notes all the faults of Christians in every age with bitter and almost malignant sarcasm; reluctantly, and with exception and reservation, admits their claim to admiration.

This inextricable bias appears even to influence his manner of composition.