ur in pictures painted by a man of genius.
A formless wooden idol, endowed with the virtue of curing disease, charmed
the pilgrim more than a statue noticeable only for its beauty or its truth
to life. We all know that _wunderthaetige Bilder sind meist nur schlechte
Gemaelde_. In architecture alone, the mysticism of the Middle Ages, their
vague but potent feelings of infinity, their yearning towards a deity
invisible, but localised in holy things and places, found artistic
outlet. Therefore architecture was essentially a medieval art. The rise of
sculpture and painting indicated the quickening to life of new faculties,
fresh intellectual interests, and a novel way of apprehending the old
substance of religious feeling; for comprehension of these arts implies
delight in things of beauty for their own sake, a sympathetic attitude
towards the world of sense, a new freedom of the mind produced by the
regeneration of society through love.

The mediaeval faiths were still vivid when the first Italian painters began
their work, and the sincere endeavour of these men was to set forth in
beautiful and worthy form the truths of Christianity. The eyes of the
worshipper should no longer have a mere stock or stone to contemplate: his
imagination should be helped by the dramatic presentation of the scenes of
sacred history, and his devotion be quickened by lively images of the
passion of our Lord. Spirit should converse with spirit, through no veil
of symbol, but through the transparent medium of art, itself instinct with
inbreathed life and radiant with ideal beauty. The body and the soul,
moreover, should be reconciled; and God's likeness should be once more
acknowledged in the features and the limbs of man. Such was the promise of
art; and this promise was in a great measure fulfilled by the painting of
the fourteenth century. Men ceased to worship their God in the holiness of
ugliness; and a great city called its street Glad on the birthday-festival
of the first picture investing religious emotion with aesthetic charm. But
in making good the promise they had given, it was needful for the arts on
the one hand to enter a region not wholly their own--the region of
abstractions and of mystical conceptions; and on the other to create a
world of sensuous delightfulness, wherein the spiritual element was
materialised to the injury of its own essential quality. Spirit, indeed,
spake to spirit, so far as the religious content was concerned;