RATIONALISM IN EUROPE.


CHAPTER III.
ÆSTHETIC, SCIENTIFIC, AND MORAL DEVELOPMENTS OF RATIONALISM.


The preceding chapters will, I trust, have sufficiently shown that during the last three centuries the sense of the miraculous has been steadily declining in Europe, that the movement has been so universal that no church or class of miracles has altogether escaped its influence, and that its causes are to be sought much less in special arguments bearing directly upon the question than in the general intellectual condition of society. In this, as in all other great historical developments, we have two classes of influences to consider. There are certain tendencies or predispositions resulting from causes that are deeply imbedded in the civilisation of the age which create the movement, direct the stream of opinions with irresistible force in a given direction, and, if we consider only great bodies of men and long periods of time, exercise an almost absolute authority. There is also the action of special circumstances and individual genius upon this general progress, retarding or accelerating its advance, giving it in different countries and in different spheres of society a peculiar character, and for a time associating it with movements with which it has no natural connection. I have endeavoured to show, that while numerous circumstances growing out of the complications of society have more or less influenced the history of the decline of the miraculous, there are two causes which dominate over all others, and are themselves very closely connected. One of these is the increasing sense of law, produced by physical sciences, which predisposes men more and more to attribute all the phenomena that meet them in actual life or in history to normal rather than to abnormal agencies; the other is the diminution of the influence of theology, partly from causes that lie within itself, and partly from the great increase of other subjects, which inclines men to judge all matters by a secular rather than by a theological standard.

But, as we have already in some degree perceived, and as we shall hereafter see more clearly, this history of the miraculous is but a single part or aspect of a much wider movement, which in its modern phases is usually designated by the name of Rationalism. The process of thought, that makes men recoil from the miraculous, makes them modify their views on many other questions. The expectation of miracles grows out of a certain conception of the habitual government of the world, of the nature of the Supreme Being, and of the manifestations of His power, which are all more or less changed by advancing civilisation. Sometimes this change is displayed by an open rejection of old beliefs. Sometimes it appears only in a change of interpretation or of realisation; that is to say, men gradually annex new ideas to old words, or they permit old opinions to become virtually obsolete. Each different phase of civilisation has its peculiar and congenial views of the system and government of the universe, to which the men of that time will gravitate; and although a revelation or a great effort of human genius may for a time emancipate some of them from the conditions of the age, the pressure of surrounding influences will soon reassert its sway, and the truths that are unsuited to the time will remain inoperative till their appropriate civilisation has dawned.

I shall endeavour in the present chapter to trace the different phases of this development -- to show how the conceptions both of the nature of the Deity and of the government of the universe are steadily modified before advancing knowledge, and to analyse the causes upon which those modifications depend.

It has been said, by a very high authority, that fetishism is the religion which men who are altogether uncivilised would naturally embrace; and, certainly, there can be no question that the general characteristic of the earlier stages of religious belief is to concentrate reverence upon matter, and to attribute to it an intrinsic efficacy. This fetishism, which in its rudest form consists of the worship of a certain portion of matter as matter, is shown also, though in a modified and less revolting manner, in the supposition that certain sacred talismans or signs possess an inherent efficacy altogether irrespective of the dispositions of men. Of this nature was the system of pagan magic, which attributed a supernatural power to particular herbs, or ceremonies, or words, and also the many rival but corresponding superstitions that were speedily introduced into Christianity. The sign of the cross was perhaps the earliest of these. It was adopted not simply as a form of recognition or as a holy recollection, or even as a mark of reverence, but as a weapon of miraculous power; and the writings of the Fathers are crowded with the prodigies it performed, and also with the many types and images that adumbrated its glory. Thus we are reminded by a writer in the beginning of the second century, that the sea could not be traversed without a mast, which is in the form of a cross. The earth becomes fertile only when it has been dug by a spade, which is a cross. The body of man is itself in the same holy form. So also is his face, for the eyes and nose together form a cross; a fact to which Jeremiah probably alluded when he said, 'The breath of our nostrils is the anointed of the Lord.' [1:205]

Speculations no less strange and far-fetched were directed to the baptismal water. The efficacy of infant baptism, which had been introduced, if not in the Apostolic age, at least immediately after, was regarded as quite independent of any moral virtues either in the recipient or those about him; and in the opinion of some a spiritual change was effected by the water itself, without any immediate coöperation of the Deity, by a power that had been conferred upon the element at the period of the creation. [2:205] The incomparable grandeur of its position in the universe was a theme of the moist rapturous eloquence. When the earth was still buried in the night of chaos, before the lights of heaven had been called into being, or any living creature had tenanted the eternal solitude, water existed in all the plenitude of its perfection, veiling the unshapen earth, and glorified and sanctified for ever as the chosen throne of the Deity. By water God separated the heavens from the earth. Water became instinct with life when the earth was still barren and uninhabited. In the creation of man it might appear at first sight as if its position was ignored, but even here a more matured reflection dispelled the difficulty. For in order that the Almighty should mould the earth into the human form, it was obviously necessary that it should have retained something of its former moisture; in other words, that it should have been mixed with water. [1:206]

Such was the direction in which the human mind drifted, with an ever-increasing rapidity, as the ignorance and intellectual torpor became more general. The same habit of thought was soon displayed in every department of theology and countless charms and amulets came into use, the simple possession of which was supposed to guarantee the owner against all evils, both spiritual and temporal. Indeed, it may be questioned whether this form of fetishism was ever more prominent in paganism than in mediæval Christianity.

When men pass from a state of pure fetishism, the next conception they form of the Divine nature is anthropomorphism, which is in some respects very closely connected with the preceding, and which, like it, is diffused in a more or less modified form over the belief of almost all uncivilised nations. Those who have ceased to attribute power and virtue to inert matter, regard the universe as the sphere of the operations of spiritual beings of a nature strictly analogous to their own. They consider every unusual phenomenon the direct and isolated act of an unseen agent, pointed to some isolated object and resulting from some passing emotion. The thunder, the famine, or the pestilence is the result of an ebullition of spiritual anger; great and rapid prosperity is the sign of spiritual satisfaction. But at the same time the feebleness of imagination which in this stage makes men unable to picture the Deity other than as an unseen man, makes it also impossible for them to concentrate their thoughts and emotions upon that conception without a visible representation. For while it is a matter of controversy whether or not the innate faculties of the civilised man transcend those of the savage, it is at least certain that the intellectual atmosphere of each period tells so soon and so powerfully upon all men, that long before matured age the two classes are almost as different in their capacities as in their acquirements. The civilised man not only knows more than the savage, he possesses an intellectual strength, a power of sustained and patient thought, of concentrating his mind steadily upon the unseen, of disengaging his conceptions from the images of the senses, which the other is unable even to imagine. Present to the savage the conception of an unseen Being, to be adored without the assistance of any representation, and he will be unable to grasp it. It will have no force or palpable reality to his mind, and can therefore exercise no influence over his life. Idolatry is the common religion of the savage, simply because it is the only one of which his intellectual condition will admit, and, in one form or another, it must continue until that condition has been changed.

Idolatry may be of two kinds. It is sometimes a sign of progress. When men are beginning to emerge from the pure fetishism which is probably their first stage, they carve matter into the form of an intelligent being; and it is only when it is endowed with that form, that they attribute to it a divine character. They are still worshipping matter, but their fetishism is fading into anthropomorphism. Sometimes, again, men who have once risen to a conception of a pure and spiritual Being, sink, in consequence of some convulsion of society, into a lower level of civilisation. They will then endeavour to assist their imaginations by representations of the object of their worship, and they will very soon attribute to those representations an intrinsic efficacy.

It will appear from the foregoing principles that, in the early anthropomorphic stages of society, visible images form the channels of religious devotions; and, therefore, as long as those stages continue, the true history of theology, or at least of the emotional and realising parts of theology, is to be found in the history of art. Even outside the pale of Christianity, there is scarcely any instance in which the national religion has not exercised a great and dominating influence over the national art. Thus, for example, the two ancient nations in which the æsthetic development failed most remarkably to keep pace with the general civilisation were the Persians and the Egyptians. The fire that was worshipped by the first formed a fetish, at once so simple and so sublime, that it rendered useless the productions of the chisel; while the artistic genius of Egypt was paralysed by a religion which branded all innovation as a crime, made the profession of an artist compulsory and hereditary, rendered the knowledge of anatomy impossible by its prohibition of dissection, and taught men by its elaborate symbolism to look at every natural object, not for its own sake, but as the representative of something else. Thus, again, among the nations that were especially distinguished for their keen sense of the beautiful, India and Greece are preëminent; but there is this important difference between them. The Indian religion ever soared to the terrible, the unnatural, and the prodigious; and consequently Indian art was so completely turned away from nature, that all faculty of accurately copying it seems to have vanished, and the simplest subject was interwoven with grotesque and fanciful inventions. The Greek religion, on the other hand, was an almost pure naturalism, and therefore Greek art was simply nature idealised, and as such has become the universal model. [1:209]

But it is with Christian art that we are now especially concerned, and it is also Christian art which most faithfully reflects the different stages of religious development, enabling us to trace, not merely successive phases of belief, but, what is much more important for my present purpose, successive phases of religious realisation.

The constant fall of the early Jews into idolatry, in spite of the most repeated commands and the most awful punishments, while it shows clearly how irresistible is this tendency in an early stage of society, furnished a warning which was at first not altogether lost upon the Christian Church. It is indeed true that art had so long been associated with paganism -- its subjects, its symbolism, and its very tone of beauty, were so derived from the old mythology -- that the Christian artists, who had probably in many cases been formerly pagan artists, introduced a considerable number of the ancient conceptions into their new sphere. But, although this fact is perfectly incontestable, and although the readiness with which pagan imagery was admitted into the symbolism of the Church forms an extremely curious and instructive contrast to the tone which most of the Fathers adopted towards the pagan deities, nearly all these instances of appropriation were singularly judicious, and the general desire to avoid anything that might lead to idolatrous worship was very manifest.

The most important and the most beneficial effect of pagan traditions upon Christian art was displayed in its general character. It had always been a strict rule among the Greeks and Romans to exclude from sepulchral decorations every image of sadness. The funerals of the ancients were, indeed, accompanied by great displays of exaggerated and artificial lamentation; but once the ashes were laid in the tomb, it was the business of the artist to employ all his skill in depriving death of its terror. Wreaths of flowers, Bacchic dances, hunts, or battles, all the exuberance of the most buoyant life, all the images of passion or of revelry, were sculptured around the tomb; while the genii of the seasons indicated the inevitable march of time, and the masks that adorned the corners showed that life was but a player's part, to be borne for a few years with honour, and cast aside without regret.

The influence of this tradition was shown in a very remarkable way in Christianity. At first all Christian art was sepulchral art. The places that were decorated were the Catacombs; the chapels were all surrounded by the dead; the altar upon which the sacred mysteries were celebrated was the tomb of a martyr. [1:211] According to mediæval or even to modern ideas, we should have imagined that an art growing up under such circumstances would have assumed a singularly sombre and severe tone, and this expectation would be greatly heightened if we remembered the violence of the persecution. The very altar-tomb around which the Christian painter scattered his ornaments with most profusion was often associated with the memory of sufferings of the most horrible and varied character, and at the same time with displays of heroic constancy that might well have invited the talents of the artist. Passions, too, were roused to the highest point, and it would seem but natural that the great and terrible scenes of Christian vengeance should be depicted. Yet nothing of this kind appears in the Catacombs. With two doubtful exceptions, one at least being of the very latest period of art, there are no representations of martyrdoms. [1:212] Daniel unharmed amid the lions, the unaccomplished sacrifice of Isaac, the three children unscathed amid the flames, or St. Peter led to prison, are the only images that reveal the horrible persecution that was raging. There was no disposition to perpetuate forms of suffering, no ebullition of bitterness or complaint, no thirsting for vengeance. Neither the Crucifixion, nor any of the scenes of the Passion, were ever represented; nor was the day of judgment, nor were the sufferings of the lost. The wreaths of flowers in which paganism delighted, and even some of the most joyous images of the pagan mythology, were still retained, and were mingled with all the most beautiful emblems of Christian hopes, and with representations of many of the miracles of mercy.

This systematic exclusion of all images of sorrow, suffering, and vengeance, at a time that seemed beyond all others most calculated to produce them, reveals the early Church in an aspect that is singularly touching, and it may, I think, be added, singularly sublime. The fact is also one of extreme importance in ecclesiastical history. For, as we shall hereafter have occasion to see, there existed among some of the theologians of the early Church a tendency that was diametrically opposite to this; a tendency to dilate upon such subjects as the torments of hell, the vengeance of the day of judgment, and, in a word, all the sterner portions of Christianity, which at last became dominant in the Church, and which exercised an extremely injurious influence over the affections of men. But whatever might have been the case with educated theologians, it was quite impossible for this tendency to be very general as long as art, which was then the expression of popular realisations, took a different direction. The change in art was not fully shown till late in the tenth century. I have already had occasion to notice the popularity which representations of the Passion and of the day of judgment then for the first time assumed; and it may be added that, from this period, one of the main objects of the artists was the invention of new and horrible tortures, which were presented to the constant contemplation of the faithful in countless pictures of the sufferings of the martyrs on earth, or of the lost in hell. [1:213]

The next point which especially strikes us in the art of the Catacombs is the great love of symbolism it evinced. There are, it is true, a few isolated pictures of Christ and of the Virgin, most of them of a late period; but by far the greater number of representations were obviously symbolical, and were designed exclusively as a means of instruction. Of these symbols many were taken without hesitation from paganism. Thus, one of the most common is the peacock, which in the Church, as among the heathen, was selected as the emblem of immortality. Partly, perhaps, on account of its surpassing beauty, and partly from a belief that its flesh never decayed, [2:213] it had been adopted by the ancients as the nearest realisation of the conception of the phœnix, and at the funeral of an empress the bird was sometimes let loose from among the ashes of the deceased. [1:214] Orpheus drawing all men to him by his music, symbolised the attractive power of Christianity. [2:214] The masks of paganism, and especially the masks of the sun and moon, which the pagans adopted as emblems of the lapse of life, continued to adorn the Christian sarcophagi, the last being probably regarded as emblems of the resurrection. The same thing may be said of the genii of the seasons. [3:214] Nor was this by any means the only form under which the genii were represented. The ancients regarded them as presiding over every department of nature and many thought that a separate genius watched over the destiny of each man. This conception very naturally coalesced with that of guardian angels, [1:215] and the pagan representation of the genii as young winged boys, naked, and with gentle and joyous countenances, became very common in early Christian art, and passed from it into the art of later days. Even now, from the summit of the baldacchino of St. Peter's, the genii of paganism look down on the proudest ceremonies of Catholicism. Once or twice on the Christian sarcophagi Christ is represented in triumph with the sky, or perhaps more correctly 'the waters above the firmament,' beneath his feet, in the form of a man extending a veil above his head, the habitual pagan representation of an aquatic deity. [2:215]

In addition to these symbols, which were manifestly taken from paganism, there were others mainly or exclusively produced by the Church itself. Thus, the fish was the usual emblem of Christ, chosen because the Greek word forms the initials of His name and titles, [3:215] and also because Christians are born by baptism in water. [4:215] Sometimes, but much more rarely, the stag is employed for the same purpose, because it bears the cross on its forehead, and from an old notion that it was the irreconcilable enemy of serpents, which it was supposed to bunt out and destroy. [5:215] Several subjects from the Bible of a symbolical character were constantly repeated. Such were Noah in the attitude of prayer receiving the dove into his breast, Jonah rescued from the fish's mouth, Moses striking the rock, St. Peter with the wand of power, the three children, Daniel in the lions' den, the Good Shepherd, the dove of peace, the anchor of hope, the crown of martyrdom, the palm of victory, the ship struggling through the waves to a distant haven, the horse bounding onwards to the goal. All of these were manifestly symbolical, and were in no degree the objects of reverence or worship.

When, however, the first purity of the Christian Church was dimmed, and when the decomposition of the Roman empire and the invasion of the barbarians overcast the civilisation of Europe, the character of art was speedily changed, and though many of the symbolical representations still continued, there was manifested by the artists a constantly increasing tendency to represent directly the object of their worship, and by the people to attach a peculiar sanctity to the image.

Of all the forms of anthropomorphism that are displayed in Catholic art, there is probably none which a Protestant deems so repulsive as the portraits of the First Person of the Trinity, that are now so common. It is, however, a very remarkable fact, which has been established chiefly by the researches of some French archæologists in the present century, that these portraits are all comparatively modern, and that the period in which the superstition of Europe was most profound, was precisely that in which they had no existence. [1:217] In an age when the religious realisations of Christendom were habitually expressed by visible representations -- when the nature of a spirit was so inadequately conceived that artists never for a moment shrank from representing purely spiritual beings -- and when that instinctive reverence which makes men recoil from certain objects as too solemn and sublime to be treated, was almost absolutely unknown -- we do not find the smallest tendency to represent God the Father. Scenes indeed in which He acted were frequently depicted, but the First Person of the Trinity was invariably superseded by the Second. Christ, in the dress and with the features appropriated to Him in the representations of scenes from the New Testament, and often with the monogram underneath his figure, is represented creating man, condemning Adam and Eve to labour, speaking with Noah, arresting the arm of Abraham, or giving the law to Moses. [2:217] With the exception of a hand sometimes extended from the cloud, and occasionally encircled with a nimbus, we find in this period no traces in art of the Creator. At first we can easily imagine that a purely spiritual conception of the Deity, and also the hatred that was inspired by the type of Jupiter, would have discouraged artists from attempting such a subject; and Gnosticism, which exercised a very great influence over Christian art, and which emphatically denied the divinity of the God of the Old Testament, tended in the same direction; but it is very unlikely that these reasons can have had any weight between the sixth and twelfth centuries. For the more those centuries are studied, the more evident it becomes that the universal and irresistible tendency was then to materialise every spiritual conception, to form a palpable image of everything that was reverenced, to reduce all subjects within the domain of the senses. This tendency, unchecked by any sense of grotesqueness or irreverence, was shown with equal force in sculpture, painting and legends; and all the old landmarks and distinctions that had been made between the orthodox uses of pictures and idolatry had been virtually swept away by the resistless desire to form an image of everything that was worshipped, and to attach to that image something of the sanctity of its object. Yet amid all this no one thought of representing the Supreme Being. In that condition of society men desired a human god, and they consequently concentrated their attention exclusively upon the Second Person of the Trinity or upon the saints, and suffered the great conception of the Father to become practically obsolete. It continued of course in creeds and in theological treatises, but it was a void and sterile abstraction, which had no place among the realisations and no influence on the emotions of mankind. If men turned away from the Second Person of the Trinity, it was only to bestow their devotions upon saints or martyrs. With the exception, I believe, of a single manuscript of the ninth century, [1:218] there was no portrait of the Father till the twelfth century; and it was only in the fourteenth century, when the revival of learning had become marked, that these portraits became common. [1:219] From that time to the age of Raphael the steady tendency of art is to give an ever-increasing preëminence to the Father. At first His position in painting and sculpture had been a subordinate one, and He was only represented in the least attractive occupations, [2:219] and commonly, through a desire to represent the coeternity of the Persons of the Trinity, of the same age as His Son. Gradually, however, after the fourteenth century, we find the Father represented in every painting as older, more venerable, and more prominent, until at last He became the central and commanding figure, [3:219] exciting the highest degree of reverence, and commonly represented in different countries according to their ideal of greatness. In Italy, Spain, and the ultramontane monasteries of France, He was usually represented as a Pope; in Germany as an Emperor; in England and, for the most part, in France as a King.

In a condition of thought in which the Deity was only realised in the form of man, it was extremely natural that the number of divinities should be multiplied. The chasm between the two natures was entirely unfelt, and something of the Divine character was naturally reflected upon those who were most eminent in the Church. The most remarkable instance of this polytheistic tendency was displayed in the deification of the Virgin.

A conception of a divine person or manifestation of the female sex had been one of the notions of the old Jewish Cabalists; and in the first century Simon Magus had led about with him a woman named Helena, who, according to the Catholics, was simply his mistress, but whom he proclaimed to be the incarnation of the Divine Thought. [1:220] This notion, under a great many different forms, was diffused through almost all the sects of the Gnostics. The Supreme Being, whom they very jealously distinguished from and usually opposed to the God of the Jews, [2:220] they termed 'The Unknown Father,' and they regarded Him as directly inaccessible to human knowledge, but as revealed in part by certain Æons or emanations, of whom the two principal were Christ, and a female spirit termed the Divine Sophia or Ennoia, and sometimes known by the strange name of 'Prounice.' [1:221] According to some sects this Sophia was simply the human soul, which was originally an emanation or child of the Deity, but which had wandered from its parent-source, had become enamoured of and at last imprisoned by matter, and was now struggling, by the assistance of the unfallen Æon Christ, towards its pristine purity. More commonly, however, she was deemed a personification of a Divine attribute, an individual Æon, the sister or (according to others) the mother of Christ, and entitled to equal or almost equal reverence.

In this way, long before Catholic Mariolatry had acquired its full proportions, a very large section of the Christian world had been accustomed to concentrate much attention upon a female ideal as one of the two central figures of devotion. This fact alone would in some degree prepare the way for the subsequent elevation of the Virgin; and it should be added that Gnosticism exercised a very great and special influence over the modes of thought of the orthodox. As its most learned historian has forcibly contended, it should not be regarded as a Christian heresy, but rather as an independent system of eclectic philosophy in which Christian ideas occupied a prominent place. Nearly all heresies have aroused among the orthodox a spirit of repulsion which has produced views the extreme opposite of those of the heretic. Gnosticism, on the other hand, exercised an absorbing and attracting influence of the strongest kind. That Neo-Platonic philosophy which so deeply tinctured early theology passed, for the most part, through a Gnostic medium. No sect, too, appears to have estimated more highly or employed more skilfully æsthetic aids. The sweet songs of Bardesanes and Harmonius carried their distinctive doctrines into the very heart of Syrian orthodoxy, and cast such a spell over the minds of the people that, in spite of all prohibitions, they continued to be sung in the Syrian churches till the Catholic poet St. Ephrem wedded orthodox verses to the Gnostic metres. [1:222] The apocryphal gospels, which were for the most part of Gnostic origin, long continued to furnish subjects for painters in orthodox churches. [2:222] There is even much reason to believe that the conventional cast of features ascribed to Christ, which for so many centuries formed the real object of the worship of Christendom, is derived from the Gnostic artists. [3:222] Besides this, Gnosticism formed the highest representation of a process of transformation or unification of religious ideas which occupied a very prominent place among the organising influences of the Church. Christianity had become the central intellectual power in the world, but it triumphed not so much by superseding rival faiths as by absorbing and transforming them. Old systems, old rites, old images were grafted into the new belief, retaining much of their ancient character but assuming new names and a new complexion. Thus in the symbolism of the Gnostics innumerable conceptions culled from the different beliefs of paganism were clustered around the Divine Sophia, and at least some of them passed through paintings or traditional allegories to the Virgin. The old Egyptian conception of Night, the mother of day and of all things, with the diadem of stars, Isis, the sister of Osiris or the Saviour; Latona, the mother of Apollo; Flora, the bright goddess of returning spring, to whom was once dedicated the month of May, which is now dedicated to the Virgin; Cybele, the mother of the gods, whose feast was celebrated on what is now Lady-day, were all more or less connected with the new ideal. [1:224]

But while Gnosticism may be regarded as the pioneer or precursor of Catholic Mariolatry, the direct causes are to be found within the circle of the Church. If the first two or three centuries were essentially the ages of moral appreciation, the fourth and fifth were essentially those of dogmatic definitions, which were especially applied to the nature of the divinity of Christ, and which naturally and indeed necessarily tended to the continued exaltation of one who was soon regarded as, very literally, the Bride of God. During the Nestorian controversy the discussions on the subject assumed an almost physiological character; [2:224] and the emphasis with which the Church condemned the doctrines of Nestorius, who was supposed to have unduly depreciated the dignity of Mary, impelled the orthodox enthusiasm in the opposite direction. The Council of Ephesus, in A.D. 431, defined the manner in which the Virgin should be represented by artists; [3:224] and the ever-increasing importance of painting and sculpture as the organs of religious realisations brought into clearer and more vivid relief the charms of a female ideal, which acquired an irresistible fascination in the monastic life of celibacy and solitary meditation, and in the strange mixture of gallantry and devotion that accompanied the Crusades. It was in this last period that the doctrine of the Immaculate Conception is said first to have appeared. [1:225] The lily, as the symbol of purity, was soon associated with pictures of the Virgin; and a notion having grown up that women by eating it became pregnant without the touch of man, a vase wreathed with lilies became the emblem of her maternity.

The world is governed by its ideals, and seldom or never has there been one which has exercised a more profound and, on the whole, a more salutary influence than the mediæval conception of the Virgin. For the first time woman was elevated to her rightful position, and the sanctity of weakness was recognised as well as the sanctity of sorrow. No longer the slave or toy of man, no longer associated only with ideas of degradation and of sensuality, woman rose, in the person of the Virgin Mother, into a new sphere, and became the object of a reverential homage of which antiquity had had no conception. Love was idealised. The moral charm and beauty of female excellence was for the first time felt. A new type of character was called into being; a new kind of admiration was fostered. Into a harsh and ignorant and benighted age this ideal type infused a conception of gentleness and of purity unknown to the proudest civilisations of the past. In the pages of living tenderness which many a monkish writer has left in honour of his celestial patron; in the millions who, in many lands and in many ages, have sought with no barren desire to mould their characters into her image; in those holy maidens who, for the love of Mary, have separated themselves from all the glories and pleasures of the world, to seek in fastings and vigils and humble charity to render themselves worthy of her benediction; in the new sense of honour, in the chivalrous respect, in the softening of manners, in the refinement of tastes displayed in all the walks of society; in these and in many other ways we detect its influence. All that was best in Europe clustered around it, and it is the origin of many of the purest elements of our civilisation.

But the price, and perhaps the necessary price, of this was the exaltation of the Virgin as an omnipresent deity of infinite power as well as infinite condescension. The legends represented her as performing every kind of prodigy, saving men from the lowest abysses of wretchedness or of vice, and proving at all times the most powerful and the most ready refuge of the afflicted. The painters depicted her invested with the divine aureole, judging man on equal terms with her Son, or even retaining her ascendancy over Him in heaven. In the devotions of the people she was addressed in terms identical with those employed to the Almighty. [1:227] A reverence similar in kind but less in degree was soon bestowed upon the other saints, who speedily assumed the position of the minor deities of paganism, and who, though worshipped, like them, as if ubiquitous, like them had their special spheres of patronage.

While Christendom was thus reviving the polytheism which its intellectual condition required, the tendency to idolatry that always accompanies that condition was no less forcibly displayed. In theory, indeed, images were employed exclusively as aids to worship; but in practice, and with the general assent of the highest ecclesiastical authorities, they very soon became the objects. When men employ visible representations simply for the purpose of giving an increased vividness to their sense of the presence of the person who is addressed, and when the only distinction they make between different representations arises from the degree of fidelity or force with which they assist the imagination, these persons are certainly not committing idolatry. But when they proceed to attach the idea of intrinsic virtue to a particular image, when one image is said to work miracles and confer spiritual benefits that separate it from every other, when it becomes the object of long pilgrimages, and is supposed by its mere presence to defend a besieged city or to ward off pestilence and famine, the difference between this conception and idolatry is inappreciable. Everything is done to cast the devotion of the worshipper upon the image itself, to distinguish it from every other, and to attribute to it an intrinsic efficacy.

In this as in the former case the change was effected by a general tendency resulting from the intellectual condition of society, assisted by the concurrence of special circumstances. At a very early period the persecuted Christians were accustomed to collect the relies of the martyrs, which they regarded with much affection and not a little reverence, partly, perhaps, from the popular notion that the souls of the dead lingered fondly around their tombs, [1:228] and partly from the very natural and praiseworthy feeling which attaches us to the remains of the good. A similar reverence was speedily transferred to pictures, which as memorials of the dead were closely connected with relics; and the tendency to the miraculous that was then so powerful having soon associated some of them with supernatural occurrences, this was regarded as a Divine attestation of their sanctity. Two of these representations were especially prominent in the early controversies. The first was a portrait which, according to tradition, Christ had sent to Abgarus, king of Edessa, [1:229] and which, besides several other miracles, had once destroyed all the besieging engines of a Persian army that had invested Edessa. Still more famous was a statue of Christ, said to have been erected in a small town in Phœnicia by the woman who had been healed of an issue of blood. A new kind of herb had grown up beneath it, increased till it touched the hem of the garment of the statue, and then acquired the power of healing all disease. This statue, it was added, had been broken in pieces by Julian, who placed his own image on the pedestal, from which it was speedily hurled by a thunderbolt. [2:229]

In the midst of this bias the irruption and, soon after, the conversion of the barbarians were effected. Vast tribes of savages, who had always been idolaters, who were perfectly incapable, from their low state of civilisation, of forming any but anthropomorphic conceptions of the Deity, or of concentrating their attention steadily on any invisible object, and who for the most part were converted not by individual persuasion but by the commands of their chiefs, embraced Christianity in such multitudes that their habits of mind soon became the dominating habits of the Church. From this time the tendency to idolatry was irresistible. The old images were worshipped under new names, and one of the most prominent aspects of the Apostolical teaching was in practice ignored.

All this, however, did not pass without protest. During the period of the persecution, when the dread of idolatry was still powerful, everything that tended in that direction was scrupulously avoided; and a few years before the first Council of Nice, a council held at Illiberis in Spain, in a canon which has been very frequently cited, condemned altogether the introduction of pictures into the churches, 'lest that which is worshipped should be painted upon the walls.' [1:230] The Greeks, among whom the last faint rays of civilisation still flickered, were in this respect somewhat superior to the Latins, for they usually discouraged the veneration of images, though admitting that of pictures. [2:230] Early in the eighth century, when image-worship had become general, the sect of the Iconoclasts arose, whose long struggle against the prevailing evil, though stained with great tyranny and great cruelty, represents the fierce though unavailing attempts to resist the anthropomorphism of the age; and when the second Council of Nice, which the Catholics now regard as œcumenical, censured this heresy and carried the veneration of images considerably further than had before been authorised, its authority was denied and its decrees contemptuously stigmatised by Charlemagne and the Gallican Church. [1:231] Two or three illustrious Frenchmen also made isolated efforts in the same direction. [2:231]

Of these efforts there is one upon which I may delay for a moment, because it is at once extremely remarkable and extremely little known, and also because it brings us in contact with one of the most rationalistic intellects of the middle ages. In describing the persecution that was endured by the Cabalists in the ninth century, I had occasion to observe that they found a distinguished defender in the person of an archbishop of Lyons, named St. Agobard. The very name of this prelate has now sunk into general oblivion, [3:231] or if it is at all remembered, it is only in connection with the most discreditable act of his life -- the part which he took in the deposition of Louis le Débonnaire. Yet I question whether in the whole compass of the middle ages -- with, perhaps, the single exception of Scotus Erigena -- it would be possible to find another man within the Christian Church who applied himself so zealously, so constantly, and so ably to dispelling the superstitions that surrounded him. To those who have appreciated the character of the ninth century, but few words will be required to show the intellectual eminence of an ecclesiastic who, in that century, devoted one work to displaying the folly of those who attributed hail and thunder to spiritual agencies, a second to in at least some degree attenuating the popular notions concerning epilepsy and other strange diseases, a third to exposing the absurdities of ordeals, and a fourth to denouncing the idolatry of image worship.

At the beginning of this last work Agobard collected a long series of passages from the fathers and early councils on the legitimate use of images. As long as they were employed simply as memorials, they were unobjectionable. But the popular devotion had long since transgressed this limit. Idolatry and anthropomorphism had everywhere revived, and devotion being concentrated on visible representations, all faith in the invisible was declining. Men, with a sacrilegious folly, ventured to apply the epithet holy to certain images, [1:232] offering to the work of their own hands the honour which should be reserved for the Deity, and attributing sanctity to what was destitute even of life. Nor was it any justification of this practice that the worshippers sometimes disclaimed the belief that a divine sanctity resided in the image itself, [2:232] and asserted that they reverenced in it only the person who was represented; for if the image was not divine, it should not be venerated. This excuse was only one of the devices of Satan. [1:233] who was ever seeking under the pretext of honour to the saints to draw men back to the idols they had left. No image could be entitled to the reverence of those who, as the temples of the Holy Ghost, were superior to every image, who were themselves the true images of the Deity. A picture is helpless and inanimate. It can confer no benefit and inflict no evil. Its only value is as a representation of that which is least in man -- of his body, and not his mind. Its only use is as a memorial to keep alive the affection for the dead; if it is regarded as anything more, it becomes an idol, and as such should be destroyed. Very rightly then did Hezekiah grind to powder the brazen serpent in spite of its sacred associations, because it had become an object of worship. Very rightly too did the Council of Illiberis and the Christians of Alexandria [2:233] forbid the introduction of representations into the churches, for they foresaw that such representations would at last become the objects of worship, and that a change of faith would only be a change of idols; nor could the saints themselves be more duly honoured than by destroying ignominiously their portraits, when those portraits had become the objects of superstitious reverence. [3:233]

It will I think be admitted that these sentiments are exceedingly remarkable when we consider the age in which they were expressed, and the position of the person who expressed them. No Protestant fresh from the shrines of Loretto or Saragossa ever denounced the idolatry practised under the shadow of Catholicism with a keener or more incisive eloquence than did this mediæval saint. But although it is extremely interesting to detect the isolated efforts of illustrious individuals to rise above the general conditions of their age, such efforts have usually but little result. Idolatry was so intimately connected with the modes of thought of the middle ages, it was so congruous with the prevailing conception of the government of the universe, and with the materialising habits that were displayed upon all subjects, that no process of direct reasoning could overthrow it, and it was only by a fundamental change in the intellectual condition of society that it was at last subverted.

It must, however, be acknowledged that there is one example of a great religion, reigning for the most part over men who had not yet emerged from the twilight of an early civilisation, which has nevertheless succeeded in restraining its votaries from idolatry. This phenomenon, which is the preëminent glory of Mahometanism, and the most remarkable evidence of the genius of its founder, appears so much at variance with the general laws of historic development, that it may be well to examine for a moment its causes. In the first place, then, it must be observed that the enthusiasm by which Mahometanism conquered the world, was mainly a military enthusiasm. Men were drawn to it at once, and without conditions, by the splendour of the achievements of its disciples, and it declared an absolute war against all the religions it encountered. Its history therefore exhibits nothing of the process of gradual absorption, persuasion, compromise, and assimilation, that was exhibited in the dealings of Christianity with the barbarians. In the next place, one of the great characteristics of the Koran is the extreme care and skill with which it labours to assist men in realising the unseen. Descriptions the most minutely detailed, and at the same time the most vivid, are mingled with powerful appeals to those sensual passions by which the imagination in all countries, but especially in those in which Mahometanism has taken root, is most forcibly influenced. In no other religion that prohibits idols was the strain upon the imagination so slight. [1:235]

In the last place, the prohibition of idols was extended to every representation of man and animals, no matter how completely unconnected they might be with religion. [2:235] Mahomet perceived very clearly, that in order to prevent his disciples from worshipping images, it was absolutely necessary to prevent them from making any; and he did this by commands which were at once so stringent and so precise, that it was scarcely possible to evade them. In this way he preserved his religion from idolatry; but he made it the deadly enemy of art. How much art has lost by the antagonism it is impossible to say. Certainly the wonderful proficiency attained by the Spanish Moors in architecture, which was the only form of art that was open to them, and above all the ornamentation of the Alhambra, and the Aleazar of Seville, in which, while the representations of animal life are carefully excluded, plants and flowers and texts from the Koran and geometrical figures are woven together in a tracery of the most exquisite beauty, [1:236] seem to imply the possession of æsthetic powers that have never been surpassed.

Mahometanism sacrificed art, but it cannot be said that Christianity during the middle ages was altogether favourable to it. The very period when representations of Christ or the saints were regarded as most sacred, was precisely that in which there was no art in the highest sense of the word, or at least none applied to the direct objects of worship. The middle ages occasionally, indeed, produced churches of great beauty; mosaic work for their adornment was cultivated with considerable zeal, and in the fifth century, and again after the establishment in the eleventh century of a school of Greek artists at Monte Cassino, with some slight success; [1:237] similar skill was shown in gold church ornaments, [2:237] and in the illumination of manuscripts; [3:237] but the habitual veneration of images, pictures, and talismans, was far from giving a general impulse to art. And this fact, which may at first sight appear perplexing, was in truth perfectly natural. For the æsthetic sentiment and a devotional feeling are so entirely different, that it is impossible for both to be at the same moment predominating over the mind, and very unusual for both to be concentrated upon the same object. The sensation produced by a picture gallery is not that of religious reverence, and the favourite idols have in no religion been those which approve themselves most fully to the taste. [1:238] They have rather been pictures that are venerable from their extreme antiquity, or from the legends attached to them, or else representations of the most coarsely realistic character. Painted wooden statues the size of life have usually been the favourite idols; but these are so opposed to the genius of true art, that -- with the exception of Spain, where religious feeling has dominated over every other consideration, and where three sculptors of very great ability, named Juni, Hernandez, and Montañes, have devoted themselves to their formation -- they have scarcely ever exhibited any high artistic merit, and never the very highest. The mere fact, therefore, of pictures or images being destined for worship, is likely to be rather prejudicial than otherwise to art. Besides this, in an idolatrous period the popular reverence speedily attaches to a particular type of countenance, and even to particular gestures or dresses; and all innovation, and therefore all improvement, is resisted.

These reasons apply to the art of the middle ages in common with that of all other periods of virtual or avowed idolatry. There was, however, another consideration, acting in the same direction, which was peculiar to Christianity. I mean the low estimate of physical beauty that characterised the monastic type of religion. Among the Greeks beauty of every order [1:239] was the highest object of worship. In art especially no subject was tolerated in which deformity of any kind was manifested. Even suffering was habitually idealised. The traces of mental anguish upon the countenance were exhibited with exquisite skill, but they were never permitted so to contort the features as to disturb the prevailing beauty of the whole. [2:239] The glory of the human body was the central conception of art, and nakedness was associated rather with dignity than with shame. The gods, it was emphatically said, were naked. [1:240] To represent an emperor naked, was deemed the highest form of flattery, because it was to represent his apotheosis. The athletic games which occupied so large a place in ancient life, contributed greatly to foster the admiration of physical strength, and to furnish the most admirable models to the sculptors. [2:240]

It is easy to perceive how favourable such a state of feeling must have been to the development of art, and no less easy to see how contrary it was to the spirit of a religion which for many centuries made the suppression of all bodily passions the central notion of sanctity. In this respect philosophers, heretics, and saints were unanimous. Plotinus, one of the most eminent of the Neo-Platonic philosophers, was so ashamed of the possession of a body, that he refused to have his portrait taken on the ground that it would be to perpetuate his degradation. Gnosticism and Manichæism, which in their various modifications obtained a deeper and more permanent hold in the Church than any other heretical systems, maintained as their cardinal tenet the essential evil of matter; and some of the Cathari, who were among the latest Gnostics, are said to have even starved themselves to death in their efforts to subdue the propensities of the body. [3:240] Of the orthodox saints, some made it their especial boast that for many years they had never seen their own bodies; others mutilated themselves in order more completely to restrain their passions; others laboured with the same object by scourgings and fastings, and horrible penances. All regarded the body as an unmingled evil, its passion and its beauty as the most deadly of temptations. Art, while governed by such sentiments, could not possibly arrive at perfection; [1:241] and the passion for representations of the Crucifixion, or the deaths of the martyrs, or the sufferings of the lost, impelled it still further from the beautiful.

It appears, then, that, in addition to the generally low intellectual condition of the middle ages, the special form of religious feeling that was then dominant, exercised an exceedingly unfavourable influence upon art. This fact becomes very important when we examine the course that was taken by the European mind after the revival of learning.

Idolatry, as I have said, is the natural form of worship in an early stage of civilisation; and a gradual emancipation from material conceptions one of the most invariable results of intellectual progress. It appears therefore natural, that when nations have attained a certain point, they should discard their images. And this is what has usually occurred. Twice, however, in the history of the human mind, a different course has been adopted. Twice the weakening of the anthropomorphic, conceptions has been accompanied by an extraordinary progress in the images that were their representatives, and the æsthetic feeling having dominated over the religious feeling, superstition has faded into art.

The first of these movements occurred in ancient Greece. The information we possess concerning the æsthetic history of that nation is so ample, that we can trace very clearly the successive phases of its development. [1:242] Putting aside those changes that are interesting only in an artistic point of view, and confining ourselves to those which reflect the changes of religious realisation, Greek idolatry may be divided into four distinct stages. The first was a period of fetishism, in which shapeless stones, which were possibly aërolites, and were, at all events, said to have fallen from heaven, were worshipped. In the second, painted wooden idols dressed in real clothes became common. [2:242] After this, Dædalus created a higher art, but one which was, like the Egyptian and Byzantine art, at the same time strictly religious, and characterised by an intense aversion to innovation. Then came the period in which increasing intellectual culture, and the prevalence of philosophical speculations, began to tell upon the nation, in which the religious reverence was displaced, and concentrated rather on the philosophical conception of the Deity than upon the idols in the temples, and in which the keen sense of beauty, evoked by a matured civilisation, gave a new tone and aspect to all parts of religion. The images were not then broken, but they were gradually regarded simply as the embodiments of the beautiful. They began to exhibit little or no religious feeling, no spirit of reverence or self-abasement, but a sense of harmony and gracefulness, a conception of ideal perfection, which has perhaps never been equalled in other lands. The statue that had once been the object of earnest prayer was viewed with the glance of the artist or the critic. The temple was still full of gods, and those gods had never been so beautiful and so grand; but they were beautiful only through the skill of the artist, and the devotion that once hallowed them had passed away. All was allegory, poetry, and imagination. Sensual beauty was typified by naked Venus; unconscious loveliness, and untried or natural chastity, by Diana. Minerva, with her downcast eyes and somewhat stern features, represented female modesty and self-control. Ceres, with her flowing robes and her golden sheaf, was the type of the genial summer; or, occasionally with dishevelled hair, and a countenance still troubled with the thought of Proserpine, was the emblem of maternal love. Each cast of beauty, and, after a brief period of unmingled grandeur, even each form of sensual frailty, was transported into the unseen world. Bacchus nurtured by a girl, and with the soft delicate limbs of a woman, was the type of a disgraceful effeminacy. Apollo the god of music, and Adonis the lover of Diana, represented that male beauty softened into something of female loveliness by the sense of music or the first chaste love of youth, which the Christian painters long afterwards represented in St. Sebastian or St. John. Hercules was the chosen type of the dignity of labour. Sometimes he appears in the midst of his toils for man, with every nerve strained, and all the signs of intense exertion upon his countenance. Sometimes he appears as a demigod in the assembly of Olympus, and then his muscles are rounded and subdued, and his colossal frame softened and harmonised as the emblem at once of strength and of repose. In very few instances do we find any conception which can be regarded as purely religious, and even those are of a somewhat Epicurean character. Thus Jupiter, Pluto, and Minos are represented with the same cast of countenance, and the difference is chiefly in their expression. The countenance of Pluto is shadowed by the passions of a demon, the brow of Minos is bent with the inexorable sternness of a judge. Jupiter alone presents an aspect of unclouded calm: no care can darken, and no passion ruffle, the serenity of the king of heaven. [1:244]

It was in this manner that the Greek mythology passed gradually into the realm of poetry, and that the transition was effected or facilitated by the visible representations that were in the first instance the objects of worship. A somewhat similar change was effected in Christian art at the period of the revival of learning, and as an almost immediate result of the substitution of Italian for Byzantine art.

There are few more striking contrasts than are comprised in the history of the influence of Grecian intellect upon art. At an early period Greece had arrived at the highest point of æsthetic perfection to which the human intellect has yet attained. She bequeathed to us those forms of almost passionate beauty which have been the wonder and the delight of all succeeding ages, and which the sculptors of every land have recognised as the ideal of their efforts. At last, however, the fountain of genius became dry. Not only creative power, but even the very perception and love of the beautiful, seemed to have died out, and for many centuries the Greek Church, the Greek empire, and the Greek artists proved the most formidable obstacles to æsthetic development. [2:244] It was from this quarter that the Iconoclasts issued forth to wage their fierce warfare against Christian sculpture. It was in the Greek Church that was most fostered the tradition of the deformity of Christ, which was as fatal to religious art as it was offensive to religious feeling. [1:245] It was in Greece too that arose that essentially vicious, conventional, and unprogressive style of painting which was universal in Europe for many centuries, which trammelled even the powerful genius of Cimabue, and which it was reserved for Giotto and Masaccio to overthrow. This was the uniform tendency of modern Greece. It was the extreme opposite of that which had once been dominant, and it is a most remarkable fact that it was at last corrected mainly by the masterpieces of Greek antiquity. It is now very generally admitted that the proximate cause of that ever-increasing course of progress which was pursued by Italian art from Cimabue to Raphael, is chiefly to be found in the renewed study of ancient sculpture begun by Nicolas of Pisa towards the close of the twelfth cen tury, and afterwards sustained by the discoveries at Rome.

The Church of Rome, with the sagacity that has usually characterised her, adopted and fostered the first efforts of revived art, and for a time she made it essentially Christian. It is impossible to look upon the pictures of Giotto and his early successors without perceiving that a religious feeling pervades and sanctifies them. They exhibit, indeed, a keen sense of beauty; but this is always subservient to the religious idea; it is always subdued and chastened and idealised. Nor does this arise simply from the character of the artists. Christian art had, indeed, in the angelic friar of Fiesole, one saint who may be compared with any in the hagiology. That gentle monk, who was never known to utter a word of anger or of bitterness, who refused without a pang the rich mitre of Florence, who had been seen with tears streaming from his eyes as he painted his crucified Lord, and who never began a picture without consecrating it by a prayer, [1:247] forms one of the most attractive pictures in the whole range of ecclesiastical biography. The limpid purity of his character was reflected in his works, and he transmitted to his disciple Gozzoli something of his spirit, with (I venture to think) the full measure of his genius.

But in this, as on all other occasions, even the higher forms of genius were ultimately regulated by the law of supply and demand, There was a certain religious conception abroad in the world. That conception required a visible representation, and the painter appeared to supply the want. The revival of learning had broken upon Europe. The study of the classics had given an impulse to every department of intellect, but it had not yet so altered the condition of society as to shake the old belief. The profound ignorance that reigned until the twelfth century had been indeed dispelled. The grossness of taste, and the incapacity for appreciating true beauty, which accompanied that ignorance, had been corrected; but the development of the imagination preceded, as it always does precede, the development of the reason. Men were entranced with the chaste beauty of Greek literature before they were imbued with the spirit of abstraction, of free criticism, and of elevated philosophy, which it breathes. They learned to admire a pure style or a graceful picture before they learned to appreciate a refined creed or an untrammelled philosophy. All through Europe, the first effect of the revival of learning was to produce a general efflorescence of the beautiful. A general discontent with the existing forms of belief was not produced till much later. A material, sensuous, and anthropomorphic faith was still adapted to the intellectual condition of the age, and therefore painting was still the special organ of religious emotions. All the painters of that period were strictly religious, that is to say, they invariably subordinated considerations of art to considerations of religion. The form of beauty they depicted was always religious beauty, and they never hesitated to disfigure their works with loathsome or painful images if they could in that manner add to their religious effect.

To these general considerations we should add the important influence of Dante, who may be regarded as the most faithful representative of that brief moment in which the renewed study of the pagan writings served only to ennoble and refine, and not yet to weaken, the conceptions of theology. No other European poet realised so fully the sacred character antiquity attributed to the bard. In the great poems of Greece and Rome, human figures occupied the foreground; and even when supernatural machinery was introduced, it served only to enhance the power or evoke the moral grandeur of mortals. Milton, indeed, soared far beyond the range of earth; but when he wrote, religious conceptions no longer took the form of palpable and material imagery, and even the grandest representations of spiritual beings under human aspects appeared incongruous and unreal. But the poem of Dante was the last apocalypse. It exercised a supreme ascendency over the imagination at a time when religious imagery was not so much the adjunct as the essence of belief, when the natural impulse of every man was to convert intellectual conceptions into palpable forms, and when painting was in the strictest sense the normal expression of faith. Scarcely any other single influence contributed so much, by purifying and feeding the imagination, to give Christian art a grandeur and a religious perfection, and at the same time a sombre and appalling aspect. 'Dipped in the gloom of earthquake and eclipse,' the pencil of the great poet loved to accumulate images of terror and of suffering, which speedily passed into the works of the artists, enthralled and fascinated the imaginations of the people, and completed a transformation that had long been in progress. At first, after the period of the Catacombs, the painters expatiated for the most part upon scenes drawn from the Book of Revelation, but usually selected in such a manner as to inspire any sentiment rather than terror. The lamb, which, having been for some centuries the favourite symbol of Christ, was at last condemned by a council in 707, [1:249] the mystic roll with its seven seals, the New Jerusalem with its jewelled battlements, or Bethlehem transfigured in its image, constantly recurred. But many circumstances, of which the panic produced by the belief that the world must end with the tenth century, and the increased influence of asceticism arising from the permission accorded to the monks of establishing their communities in the cities, [2:249] were probably the chief, contributed to effect a profound change. The churches in their ornaments, in their general aspect, and even in their forms, [1:250] became the images of death, and painting was tending rapidly in the same direction, when the Inferno of Dante opened a new abyss of terrors to the imaginations of the artists, and became the representative, and in a measure the source, of an art that was at once singularly beautiful, purely religious, and deeply imbued with terrorism and with asceticism.

These were the characteristics of the first period of revived art, and they harmonised well with the intellectual condition of the clay. After a time, however, the renewed energies of the European mind began to produce effects that were far more important. A spirit of unshackled criticism, a capacity for refined abstractions, a dislike to materialism in faith and to asceticism in practice, a disposition to treat with unceremonious ridicule imposture and ignorance in high places, an impatience of the countless ceremonies and trivial superstitions that were universal, and a growing sense of human dignity, were manifested on all sides, and they adumbrated clearly a coming change. The movement was shown in the whole tone of literature, and in the repeated and passionate efforts to attain a more spiritual creed that were made by the precursors of the Reformation. It was shown at least as forcibly in the rapid corruption of every organ of the old religion. They no longer could attract religious fervour; and as their life was gone, they degenerated and decayed. The monasteries, once the scenes of the most marvellous displays of ascetic piety, became the seats of revelry, of licentiousness, and of avarice. The sacred relics and the miraculous images, that had so long thrilled the hearts of multitudes, were made a source of unholy traffic, or of unblushing imposition. The indulgences, which were intended to assuage the agonies of a despairing conscience, or to lend an additional charm to the devotions of the pious, became a substitute for all real religion. The Papal See itself was stained with the most degrading vice, and the Vatican exhibited the spectacle of a pagan court without the redeeming virtue of pagan sincerity. Wherever the eye was turned, it encountered the signs of disorganisation, of corruption, and of decay. For the long night of mediævalism was now drawing to a close, and the chaos that precedes resurrection was supreme. The spirit of ancient Greece had arisen from the tomb, and the fabric of superstition crumbled and tottered at her touch. The human mind, starting beneath her influence from the dust of ages, cast aside the bonds that had enchained it, and, radiant in the light of recovered liberty, remoulded the structure of its faith. The love of truth, the passion for freedom, the sense of human dignity, which the great thinkers of antiquity had inspired, vivified a torpid and down-trodden people, blended with those sublime moral doctrines and with those conceptions of enlarged benevolence, which are at once the glory and the essence of Christianity, introduced a new era of human development, with new aspirations, habits of thought, and conditions of vitality, and withdrawing religious life from the shattered edifice of the past, created a purer faith, and became the promise of an eternal development.

This was the tendency of the human intellect, and it was faithfully reflected in the history of art. As the old Catholic modes of thought began to fade, the religious idea disappeared from the paintings, and they became purely secular, if not sensual, in their tone. Religion, which was once the mistress, was now the servant, of art. Formerly the painter employed his skill simply in embellishing and enhancing a religious idea. He now employed a religious subject as the pretext for the exhibition of mere worldly beauty. He commonly painted his mistress as the Virgin. He arrayed her in the richest attire, and surrounded her with all the circumstances of splendour. He crowded his pictures with nude figures with countenances of sensual loveliness, with every form and attitude that could act upon the passions, and not unfrequently with images drawn from the pagan mythology. The creation of beauty became the single object of his art. His work was a secular work, to be judged by a secular standard.

There can be no doubt that this secularisation of art was due to the general tone of thought that had been produced in Europe. The artist seeks to represent the conceptions of his time, and his popularity is the proof of his success. In an age in which strong religious belief was general, and in which it turned to painting as to the natural organ of its expression, such a style would have been impossible. The profanity of the painter would have excited universal execration, and all the genius of Titian or Angelo would have been unable to save their works from condemnation. The style became popular, because educated men ceased to look for religion in pictures, or in other words because the habits of thought that made them demand material representations of the objects of their belief had declined.

This was the ultimate cause of the entire movement. There were, however, two minor causes of great importance, which contributed largely to the altered tone of art, while they at the same time immeasurably increased its perfection -- one of them relating especially to colour, and the other to form.

The first of these causes is to be found in the moral condition of Italian society. The age was that of Bianca di Capello, and of the Borgias. All Italian literature and all Italian manners were of the laxest character, and the fact was neither concealed nor deplored. But that which especially distinguished Italian immorality is, that, growing up in the midst of all the forms of loveliness, it assumed from the first a kind of æsthetic character, united with the most passionate and yet refined sense of the beautiful, and made art the special vehicle of its expression. This is one of the peculiar characteristics of later Italian painting, [1:253] and it is one of the chief causes of its artistic perfection. For sensuality has always been extremely favourable to painting, [2:253] the object of the artist being to exhibit to the highest possible degree the beauty and the attractive power of the human body. Twice in the history of art national sensuality has thrown itself into national art, and in each case with the same result. The first occasion was in ancient Greece, at the time when Apelles derived a new inspiration from the voluptuous loveliness of Lais, and the goddess of beauty, glowing with the fresh charms of Phryne or Theodota, kindled a transport of no religious fervour in the Athenian mind. The second occasion was in the Italian art of the sixteenth century.

The rapid progress of a sensual tone in all the schools of Italian art is a fact which is too manifest to be questioned or overlooked; but there is one school which may be regarded especially as its source and representative. This school was that of the Venetian painters, and it reflected very visibly the character of its cradle. Never perhaps was any other city so plainly formed to be the home at once of passion and of art. Sleeping like Venus of old upon her parent wave, Venice, at least in the period of her glory, comprised within herself all the influences that could raise to the highest point the æsthetic sentiment, and all that could lull the moral sentiment to repose. Wherever the eye was turned, it was met by forms of strange and varied and entrancing beauty, while every sound that broke upon the ear was mellowed by the waters that were below. The thousand lights that glittered around the gilded domes of St. Mark, the palaces of matchless architecture resting on their own soft shadows in the wave, the long paths of murmuring water, where the gondola sways to the lover's song, and where dark eyes lustrous with passion gleam from the overhanging balconies, the harmony of blending beauties, and the languid and voluptuous charm that pervades the whole, had all told deeply and fatally on the character of the people. At every period of their history, but never more so than in the great period of Venetian art, they had been distinguished at once for their intense appreciation of beauty and for their universal, unbridled, and undisguised licentiousness. [1:255] In the midst of such a society it was very natural that a great school of sensual art should arise, and many circumstances conspired in the same direction. Venice was so far removed from the discoveries of the ancient statues, that it was never influenced by what may be termed the learned school of art, which eventually sacrificed all sense of beauty to anatomical studies; at the same time the simultaneous appearance of a constellation of artists of the very highest order, the luxurious habits that provided these artists with abundant patrons, the discovery of oil painting, [2:255] which attained its highest perfection under the skill of the Venetian colourists, perhaps even the rich merchandise of the East, accustoming the eye to the most gorgeous hues, [3:255] had all in different ways their favourable influence upon art. The study of the nude figure, which had been the mainspring of Greek art, and which Christianity had so long suppressed, arose again, and a school of painting was formed, which for subtle sensuality of colouring had never been equalled, and, except by Correggio, has scarcely been approached. Titian in this as in other respects was the leader of the school, and he bears to modern much the same relation as Praxiteles bears to ancient art. Both the sculptor and the painter precipitated art into sensuality, both of them destroyed its religious character, both of them raised it to high æsthetic perfection, but in both cases that perfection was followed by a speedy decline. [1:256] Even in Venice there was one great representative of the early religious school, but his influence was unable to stay the stream. The Virgin of Bellini was soon exchanged for the Virgin of Titian -- the ideal of female piety for the ideal of female beauty.

[Third Chapter Continued on Next File]