Page:The Classical Heritage of the Middle Ages.djvu/360

342 THE CLASSICAL HERITAGE [chap. Byzantine art has greatness. Its stately mosaic compositions are magnificently decorative, harmoniz- ing with the forms and functions of the architecture they adorn, admirably suited for the sufficient ornar mentation of edifices containing little sculpture. Their grace is not that of Nature's lithe pliancy, but the gra- cious stateliness of forms that move without move- ment, rhythmic elements of great church decoration. Beautiful colors are combined in balanced schemes showing a genius for color values, which may have come from the East and not have been a classic heri- tage. The drawing and coloring of the figures display the architecturally beautifying effect of colored com- position to a degree which Gothic stained glass win- dows surpass only through their sun-lit translucency. Each figure is religiously appropriate and decoratively beautiful. The majesty of Christ is unimpeached, the gracious dignity of God's mother unexcelled. Angelic forms are not debased by any striving after naturalism in the representation of what is not of this earth. Their wings are of surpassing beauty, not made to fly with, but drawn to symbolize the celerity with which the angelic nature does the will of God.i In the sixth century Byzantine art develops its characteristics and reaches the summit of its excel- lence. This is true in miniature painting, in mosaics (S. Vitale), in architecture (S. Sophia), even in sculp- ture. A few existing Byzantine capitals of this period 1 See the Celestial Hierarchy, Chap. XV. Bayet, R^cherches, etc., says that the Byzantine type of angel was formed at the time when the writings of the Areopagite became known in the East.