File:Arena magazine - Volume 40 (1908) (14745637896).jpg

Identifier: ArenaMagazine-Volume40 (find matches)
Title: Arena magazine - Volume 40
Year: 1908 (1900s)
Authors: B.O. Flower (ed.)
Subjects: Progressivism -- United States liberalism reformism social reform Christian Socialism Gay 90s political commentary Benjamin Orange Flower Progressive era social gospel
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ts in-teresting sidelightson the lives andcharacters of theVenetians. First Iexamined the earlyGothic tomb of afourteenth-c e n tu ryknight with hisarms folded and hissword by his side,sleeping the sleep ofdeath. Above, un-der Gothic niches,Mark and Peter,patron saints ofVenice and of theknight, stood guardover the dead-while two saintlylittle personages,bearing censers,gazed tenderly atthe central figureof the Madonnaholding aloft thatlittle child born inBethlehem who hadopened up the wayof life. It was apeaceful scene andone could imaginethat for this soldiersaint, with his swordin its scabbard andthe emblems of hisfaith about him,death had no terrors. I then passed on to some later tombsof the early Renaissance where thedesigns were more elaborate and theangels were more perfectly done, butwhich still breathed the same spirit of lovethe artist had in his work, and of faithin the truth he was representing. In the work of the later Renaissance,however, with its increased boastfulness
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PURE GOTHIC TOMB OF DOGE MARCO CORNER (d. 1308).(Contrast severe simplicity with florid character of Moroaini tomb.) of design, and faultlessness of execution,one has the feeling that artists werebeginning to care so much more for thefame of setting up a statue than for thejoy of making it, or for the truth theywere expressing by it, that the soul of thework was lost. They made more ornatethings, it is true, more perfect things froma purely technical standpoint, but never Digitized by Google 530 A Revised Version of Venice. afterward such wholly beautiful things.As Ruskin says, In old times men usedtheir powers of painting to show theobjects of faith; in later times they usedthe objects of faith that they might showtheir powers of painting. Thus theMagdalen in whom the earlier artistsand sculptors had seen a woman wholoved much because she had been muchforgiven and who came with her mostprecious ointment to anoint her Saviorsfeet, became for the artists of the Renais-sance an excuse t

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