When Uncle Tom's Cabin was translated and published Italy 1852, it was read widely and enthusiastically, but some Catholic observers took exception to its theology, according to Joseph Rossi. One newspaper, La Civilta Cattolica, objected to Harriet Beecher Stowe's portrayal sentiments so noble and virtues so marvelous [being acquired] sole reading of sole Bible, which seems to be predominant fixation of author (qtd. Rossi 42223). This judgment is no mistake. The scene of Little Eva and Uncle Tom reading Bible next to Lake Pontchartrain, for instance, represents an ideal of reading for and feeling presence of God, and it consecrates advance their upcoming deaths. The Italian newspaper reminds its readers that Catholic Church has little faith this means of accessing God through printed page and warns them not to be impressed images of scriptural salvation Stowe's novel. But paper also faults for taking inspiration from the immense treasures of Catholic hagiography to feed fervid embodied in a sentimental (qtd. Rossi 423). My essay argues that religious hybrid identified review--Stowe's attempt to wed treasures of Catholicism with a Protestant faith reading--shapes her fiction. Along with Elizabeth Stuart Phelps's The Gates Ajar, another best-seller that puts outsize pressure on question of how to read and how to access sacred, Uncle Tom's Cabin shows how Christian doctrinal differences influenced imagination of reading sentimental novel and decisively shaped its style. It is balancing appeals of Catholic and Protestant faith that and Phelps develop a novelistic strategy I will call exhibitional style. Certainly both and Phelps are possessed of impeccable Protestant credentials. was daughter and sister, respectively, to prominent clergymen Lyman and Henry Ward Beecher; Phelps was raised a family of two generations of Andover seminarians. Stowe's Protestant influences have been persuasively and extensively tracked, as have Phelps's. (1) But developed a robust, if vexed, relationship with Catholicism. Jenny Franchot argues that writing Agnes of Sorrento ten years after Uncle Tom's Cabin, Catholicize[s] her narrative on rhetorical level by imitating liturgical practices celebrated plot (250). Anthony E. Szczesiul finds that her religious poetry Stowe openly expresses a desire for 'imagistic' tradition of Catholicism--the sights, smells, and sounds of Catholic ritual' and he argues that portrays Eva and Tom according to specifically Catholic conventions of sainthood (par. 13). Little Eva is an evangelist, certainly, but a Catholic one. Phelps's novel, characters openly voice appreciation for Catholicism. The hero of The Gates Ajar, Winifred Forceythe, worries, In our recoil from materialism of Romish Church, we have, it seems to me, nearly stranded ourselves on opposite shore (110). Winifred's daughter Faith kisses a portrait of her dead father nightly, as if it were an icon, an act of devotion that startles narrator Mary when she first sees it. Wanting to win their readers to abolitionist cause or to console them for losses of Civil War, and Phelps act as both novelists and practical theologians. They take it that reading can save soul, a foundational Protestant view that inspires their projects as authors. But reading they imagine goes against grain of Protestant injunctions to sit alone and pore over pages. Reading is instead a communal and emotional, a visual and almost tactile, experience. (2) this way, Uncle Tom's Cabin and The Gates Ajar attempt to find a middle ground between competing models of human contact with God: private reading that goes deep between lines, or a public sacrament that relies on sharable, visual, and material. …