apocalyptic triumph in the Resurrection. They had all to be composed without aid from previous designs, for there were none. The artists had need to be as constructive as the Church Fathers, who through the same period were perfecting the formulation of the Faith. They succeeded grandly, setting forth the subjects they were told to execute, in noble, balanced, and decorative compositions, which presented the facts and tenets of the Faith strikingly and correctly. Stylistically, these great church mosaics belonged to antique art. What did they lack? Merely the human, veritably tragic, qualities of love and fear and pity, which had not yet come. Like the dogmatic system, this mosaic presentation was too recently composed. Its subjects were not yet humanized through centuries of contemplation, reverence, and love.[1]
Many of the early compositions, repeated from century to century, in time were humanized and transformed with feeling. But this was not in the seventh, eighth, and ninth centuries, when art was but a decadent and barbarized survival of the antique Christian manner, nor in the tenth and eleventh. One may note also that the mediaeval expression of Christian emotion was beginning in religious literature. This came with fulness in the twelfth century, and along with it the emotionalizing, the veritable humanizing, of religious art began. Yet the artists of western Europe still lacked the skill requisite for delicate execution. A marked advance came in the thirteenth and fourteenth centuries. That was the great period of Gothic architecture; and in the sculpture on the French cathedrals, stone seems to live and feel. The prophetic figures from the Old Testament, the scenes of man's redemption and final judgment, are humanized with love and terror. Moreover, the sculptor surrounds them with the myriad subsidiary detail of mortal life and changing beauty, showing how closely they are knit to every human love and interest.
In Italy a like story is told in a different manner. There is sculpture, but there also is mosaic, and above all there is and will be fresco. Before the end of the thirteenth century, Giotto was busy with his new dramatic art; no need to tell
- ↑ See Taylor, Classical Heritage, chap. x. sec. 2.
