beyond compare: its own intrinsic quality is enhanced by the fact that its message, which stretched beyond art’s own self-justification of aesthetic achievement, was the symbolism of things lying behind nature itself. In this symbolic phase, medieval art energised in nature as its medium, but pointed to another world.
In order to understand the contrast between these early Middle Ages and the atmosphere required by the scientific mentality, we should compare the sixth century in Italy with the sixteenth century. In both centuries the Italian genius was laying the foundations of a new epoch. The history of the three centuries preceding the earlier period, despite the promise for the future introduced by the rise of Christianity, is overwhelmingly infected by the sense of the decline of civilisation. In each generation something has been lost. As we read the records, we are haunted by the shadow of the coming barbarism. There are great men, with fine achievements in action or in thought. But their total effect is merely for some short time to arrest the general decline. In the sixth century we are, so far as Italy is concerned, at the lowest point of the curve. But in that century every action is laying the foundation for the tremendous rise of the new European civilisation. In the background the Byzantine Empire, under Justinian, in three ways determined the character of the early Middle Ages in Western Europe. In the first place, its armies, under Belisarius and Narses, cleared Italy from the Gothic domination. In this way, the stage was freed for the exercise of the old Italian genius for creating organisations which shall be protective of ideals of cultural
