Renaissance in Italy Volume 3 | Page 5

modern ideal of beauty in the double field of Christian and Hellenic legend. Before the force of painting was exhausted, it had thus traversed the whole cycle of thoughts and feelings that form the content of the modern mind. Throughout this performance, art proved itself a powerful co-agent in the emancipation of the intellect; the impartiality wherewith its methods were applied to subjects sacred and profane, the emphasis laid upon physical strength and beauty as good things and desirable, the subordination of classical and mediaeval myths to one aesthetic law of loveliness, all tended to withdraw attention from the differences between paganism and Christianity, and to fix it on the goodliness of that humanity wherein both find their harmony.
This being in general the task assigned to art in the Renaissance, we may next inquire what constituted the specific quality of modern as distinguished from antique feeling, and why painting could not fail to take the first place among modern arts. In other words, how was it that, while sculpture was the characteristic fine art of antiquity, painting became the distinguishing fine art of the modern era? No true form of figurative art intervened between Greek sculpture and Italian painting. The latter took up the work of investing thought with sensible shape from the dead hands of the former. Nor had the tradition that connected art with religion been interrupted, although a new cycle of religious ideas had been substituted for the old ones. The late Roman and Byzantine manners, through which the vital energies of the Athenian genius dwindled into barren formalism, still lingered, giving crude and lifeless form to Christian conceptions. But the thinking and feeling subject, meanwhile, had undergone a change so all-important that it now imperatively required fresh channels for its self-expression. It was destined to find these, not as of old in sculpture, but in painting.
During the interval between the closing of the ancient and the opening of the modern age, the faith of Christians had attached itself to symbols and material objects little better than fetishes. The host, the relic, the wonder-working shrine, things endowed with a mysterious potency, evoked the yearning and the awe of medieval multitudes. To such concrete actualities the worshippers referred their sense of the invisible divinity. The earth of Jerusalem, the Holy Sepulchre, the House of Loreto, the Sudarium of Saint Veronica, aroused their deepest sentiments of aweful adoration. Like Thomas, they could not be contented with believing; they must also touch and handle. At the same time, in apparent contradistinction to this demand for things of sense as signs of super-sensual power, the claims of dogma on the intellect grew more imperious, and mysticism opened for the dreaming soul a realm of spiritual rapture. For the figurative arts there was no true place in either of these regions. Painting and sculpture were alike alien to the grosser superstitions, the scholastic subtleties, and the ecstatic trances of the Middle Ages; nor had they anything in common with the logic of theology. Votaries who kissed a fragment of the cross with passion, could have found but little to satisfy their ardour 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 wunderth?tige Bilder sind meist nur schlechte Gem?lde. 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