"It is only exceptionally and as by flashes that the writings of the middle ages give the impression of true beauty. The conceptions are often grand, but the expression is always weak and dragging. On the other hand, Roman or Gothic churches are not less beautiful after their manner than Greek temples. Their beauty is of another fashion, but many souls are touched more deeply. They manifest no less clearly the power of the religious faith which constructed them. The particular character of Christian faith is shown with singular clearness in their majesty, in the elevation of their vaults, in the half lights which flood them, and in the thousands of figures which populate and animate every surface. As in Greece, the sculptor co-operates intelligently and docilely with the architect and has occupied no less happily the allotted fields. As Phidias and Alcamenes represented on the pediments and friezes of Doric temples the great gods of Greece and the local myths of Athens and Olympia, so anonymous masters, called to decorate the cathedrals of the middle ages, have placed impressive statues on the sides and in the voussoirs of the portals, in the open galleries which run along the façades, on the top of the pinnacles which throng the roof—in fact, everywhere where space is offered. These statues, distributed in an order regulated by doctrine and tradition, show forth the Saviour, the Virgin, saints and angels, prophets and apostles, and hosts of personages and scenes suggested by Holy Writ or by local and popular legends. Among these images there are many at Bourges, Chartres, Rheims, Amiens, and Nôtre Dame de Paris, which are marvels of severe elegance, of chaste and haughty grace, and of lofty moral nobility. This wonderful statuary has but lately been investigated, exposed, and studied, but already it would be difficult to find a connoisseur unwilling to compare with the most boasted statues of antiquity that admirable image of the teaching Christ of the west portal of Amiens, to which the popular surname has been attached of le Beau Dieu d'Amiens.
"For evident reasons, French sculpture of the thirteenth century did not, as did Greek sculpture, devote itself to the study and reproduction of the nude. It denied itself this attraction. All figures are clad; but beneath the drapery, which is in fine masses with large folds, the outline and the movement of form are indicated with precision. The principal interest and the rare originality, however, of this sculpture is that it is perhaps the most expressive that has ever existed. This expressiveness appears in the general effect of the pose, in the disposition of the drapery, but especially in the character which the artist has succeeded in giving to the features of the face.
"The august mysteries of the Christian dogma, the poetry of the Old and of the New Testament, the triumphant deaths of martyrs, the miracles of saints and their infinite charity—these things which the middle ages failed to put into clear and intelligible words are fully rendered in sculpture. The work of the chisel is large and firm. Difficulties are not sought, nor are they feared. Whatever be the material, the form is sure. To understand how superior the plastic is to the literary work, and to measure the distance, compare the Amiens statue with the portraits the authors of the Mysteries endeavor to draw of the Son of God. 'What can be more flat than these poor verses, which are nevertheless of the sixteenth century? The authors had good intentions and an apprehension of what should be done, but they were betrayed by the language in which they wrote. The sculptors of the thirteenth century, on the contrary, who possessed fully the grammar of their art, expressed all they felt, and have left us the most divine images of Jesus Christ in existence.'[18]
"Italy of the Renaissance is quite unintelligible to any one who has not measured the place held by art in the preoccupations not only of artists who practice it, but of all men of all conditions—of princes, nobles, tradesmen, and of citizens of most humble occupations. No one in any rank is without a passionate love for plastic beauty. This love was Italy's life and Italy's death. She died of it, because all her sap was consumed in satisfying it. It made her indifferent to her dismemberment, to the hard yoke of her tyrants, to the loss of her political liberties, and of her independence. But, at the same time, it constituted the intensity of her life which was exhausted and renewed again in the ardor with which she pursued her ideal and in her endeavors to realize it under all its aspects. Let him who would wish to obtain an exact idea of this condition reside for a while in Mantua, in Parma, in Sienna, in Florence, or in any other less-known city which nevertheless had its local school of art, its architects, its sculptors, its painters, some of whom, though they only worked for their native city, were not far from manifesting genius.[19]
"The written history of the seventeenth century and its rich literature can not alone give an idea of the situation occupied by Louis XIV in Europe when he was admired, imitated, or rather servilely copied, as pre-eminently the type of the modern king even by those who hated him the most. After two centuries, have we not seen his wonderful prestige still potent in dominating the sickly mind of Louis II of Bavaria? In his desire to copy his chosen model Louis ruined himself in building palaces. In this folly he showed discrimination. Louis XIV, when dying, may have accused himself of having indulged too great a love for building; but his edifices, with their majestic grandeur and the opulence of their decoration, gave that royal life a frame which had much to do with the dazzling which all Europe experienced when in the presence of le Roi Soleil. In order to recognize and experience, though but for a moment, a little of the impression felt by all contemporaries, Versailles must be visited; the apartments of the palace, the terraces, and the alleys of the park must be traversed. Thus will be thrown upon this historic figure a light far more brilliant and true than could possibly be the result of learning by heart accounts of all the campaigns of Turenne or Condé, or all the clauses of the treaties of Nimègue and Ryswick.
"The same may be said of the eighteenth century, of which only an incomplete idea can be had without a knowledge of its art. This century, to which Voltaire gave the note, seems to have had no sentiment of poetry. Down to the time of André Chenier everything called poetry was no more than rhymed prose. The imagination, however, did not lose its rights. Like a stream which changes its bed, it withdrew from literature to flow into the arts of design. There it gives evidence of invention and of light and spontaneous grace. Architects adopt plans of happy arrangement. They employ forms of rare elegance both in the elements of construction and in the ornaments which decorate them. Such sculptors as Capperi and Houdon give to portraiture a marvelous intensity of life, while the terra cottas of Clodion, with their fantastic and voluptuous charm, recall the clay modelers of antiquity. Such painters as Greuze, Lancret, and Boucher spread before the eyes living idyls, while Watteau and Frangonard conjure dreams of ideal Cytheras, of a chimerical paradise where reign eternal youth and eternal desire. The politics of our kings and of our ministers of the period is but a succession of faults and weaknesses. The best concerted plans come to naught. The most brilliant victory produces no useful results. If France, in spite of so many reverses, still held her supremacy in Europe, she owed it to her writers and to her artists."
Perrot's arguments might be used with even greater force in reference to those notions which have had no Comines, no Joinville, no Froissart, no Villehardouin, but the history of whose civilization may be traced in monuments along the Rhine and the Danube, the Ems and the Elbe. In the last part of the article Perrot considers the best methods of giving the desired instruction. However interesting and valuable his suggestions may be in communities where the instruction has already been established, it is evident that there must first be a conviction of the value and necessity of such studies and the determination to have them started. Methods are not difficult to devise, and will vary with national and individual tastes. That American colleges of thirty, forty, or fifty years ago should have objected to the introduction of the history of the fine arts into their curricula is easily understood. Art in any form was regarded by the New England mind as an emanation of the devil, and the New England mind controlled American colleges. Why the repugnance continues to exist is harder to understand. It may subsist from ignorance, from prejudice, or from conservatism. Conservatism may still regard all information to be derived from art as objectionable. Prejudice may still be strongly fixed in the notion that written and spoken words are the only vehicles of instruction, and that the arts are useless and idle vanities, while ignorance may be awaiting demonstration which will have to be strong and conclusive to awake it from self-satisfied apathy. May the good words of Perrot help on the cause and accelerate the time when the best and the fullest education will be offered by the American university!