File:History of art (1921) (14596789618).jpg

Identifier: historyofar02faur (find matches)
Title: History of art
Year: 1921 (1920s)
Authors: Faure, Elie, 1873-1937 Pach, Walter, 1883-1958
Subjects: Art
Publisher: New York and London : Harper & brothers
Contributing Library: PIMS - University of Toronto
Digitizing Sponsor: University of Toronto

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he necessity for effort been accepted with a morejoyous soul by a youth with more courage to live itslife, though it was better prepared than the youngerraces for the misfortune that awaited it. Certainstatues of Rheims remind one of the Apollo of Olympia,by the rise into the light, from which their brow seemsto emerge. The pure spring water that issues from therock of Hellas seems to flow over the sides and thelimbs of the statues of women, which watch over theportal above the transept of Chartres. Once more,men have lent their heroism to the gods. It would be erroneous to conclude that even thegreatest master builders and image makers among theFrench had ever possessed philosophic ideas so ele-vated as those of the sculptors from whom the Greekthinkers derived the life of the mind. But outside of CHRISTIANITY AND THE COMMUNE 319 the geographical conditions which so sensibly differen-tiated northern France with its humidity and itscoohiess from the arid and burnt land of Greece, life
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SÉEZ (xiii Century). Splaying of the door ofthe cathedral. had been harder in the Middle Ages than in the cen-tury of Pericles, war and misery had made it morenecessary for the masses to bring about an activesolidarity, and man was more profoundly necessary toman. Moreover, these different conditions of natural 320 MEDIAEVAL ART and social life revealed themselves unexpectedly in theatmosphere of sentimental legend that Christianitycreated little by little. It is indubitable that the Greeksculptor who tore the ancient world from its exhaustedrhythms, was intellectually as superior to the mason ofthe cathedral, as the Prometheus of iEschyus or theAntigone of Sophocles is to a thirteenth-centurymystery play; but it is certain that the mason of thecathedral easily rejoined him in the universal eu-rhythmy, because he was an element of the monu-mental symphony which the instinct, common to awhole throng, causes to spurt from its heart. VI The entire people in the Middle Ages, with allthat

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