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are the often quoted but untranslatable words of the "wielder of the stateliest measure."

But Greek and Roman literature and art were both lost in the conditions that followed the invasion of the empire by the barbarian tribes of the north about the sixth century A.D. In consequence of the conquests of Italy, Germany, and Gaul by the Goths, the language of each section of Europe grew corrupt; each country had a local speech of its own, and the Latin soon became a dead language. As all literature was in Greek or Latin, and as neither was now understood by these illiterate and uneducated races, a general and dense ignorance prevailed.

This was intensified by the views held by the early Christian Church, which was the custodian of learning. After the time of Constantine, Christianity dominated the empire, and its influence was used altogether to develop the religious character of man, without any regard to his æsthetic needs. In fact these were considered hostile to each other. Why waste precious time over matters of a day's interest or wonder, when the whole of the

eternal future depends on man's actions during his brief passage through this world? So the beautiful in literature and art must be shunned and neglected as temptations of the lower life.

Thus from the beginning of the sixth century to the end of the eleventh the gloom of the dark ages spread over the nations, and darkness like that of the sunless day of an arctic winter covered the earth.

We are accustomed to look on this page of history as one of hopelessness and desolation. But this is not the whole view. The period was like winter in another way, for it presaged the spring though all that makes for culture and æstheticism seemed lost. For though the Roman in his decline had ceased from writing, and the rising German was not yet able so to express his thoughts; though it was the time of the decay and breaking up of the great empire that had ruled the world, still, dark as was the apparent outlook, it was amid this ruin that the seeds of modern society were sown, and nourished, and grew up. The Roman and Germanic races were being

[graphic]

PLATE III. In S. Maria del Popolo, Rome. Pinturicchio.

21260-1320. 31266-1337.

welded together in the different provinces, 11240-1302. the German element having secured the supreme power; but the new nations absorbed all that was best of the Roman civilization, and were preparing themselves for the fuller life that awaited them and for the successes and discoveries of modern times in science and Florence and the arts.

Since writ

ing this a

visit to Siena

has shown clearly that

recent views held about

are the cor

and Duccio

traditions.

The springtime of the revival came in the more painting with Cimabue,' Duccio,' and Giotto, and in literature with Dante and Petrarch. these Artists Painting in the Renaissance took the place rect ones. that sculpture did among the Greeks, and Cimabue the latter was subordinate to the former, for follow painting was better adapted to express the Byzantine emotional feeling and the religious ideas of To Giotto belongs the the time, and to depict the incidents in the honour of lives of the Apostles and the Saints that were being the required for use in the decoration of the modern churches. Yet even it could not do for the painting. Christian religion what sculpture had done painted figfor Paganism, because the gradual return to and lifelike the joyfulness of nature and the portrayal of and put beautiful human forms brought in a feeling into his of sensuousness which was opposed to the pictures.

founder of

For he first

ures round

atmosphere

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