Dissertation on the Paintings of the middle Jge. 39 



Greeks was therefore gradually abandoned for the richness 

 and magnificence of combinations ; and the arts assumed 

 a character of degradation. Nevertheless, while we must 

 admire the imposing aspect of the works of the best days 

 of Rome, under theAntonini, we must repeat that the Greek 

 models of the age of Pericles always shine with new lustre, 

 and that the study of the medals of Sicily alone, or of the 

 bas-reliefs from Athens, will always delight the artist of 

 genuine taste and talents. 



If we now turn our attention to the middle ages, when 

 the southern pans of Europe groaned under barbarism, we 

 must also ascribe the new calamities which befel painting 

 to pride and disdain. Nati-jnal vanity had no longer any 

 control-: at these unfortunate aaras the learned were more 

 em|)]oyed in collecting the fragments of the arts than iu 

 adding to their perfection ; and this respectful modesty, 

 which was not without its good effects, since it recalled 

 the ages of simplicity, paved the way for the glory of Da 

 Vinci and Raphael. Jn those days 'antiquity was again 

 honoured, and simple nature was once more loved and re- 

 spected. The influence of the events of the time was the 

 only obstacle; the sciences were not studied, it is true, 

 but the minds of men were purer; they were less cultivated, 

 but good sense prevailed. Jn a word, this state of the arts 

 afforded extensive grounds for indulging in hope, and no- 

 thing to fear for their advancement. It was in those days 

 of comparative languor that the consolations of paintino- 

 softened the bitterness of individual and national sufferings'; 

 its mild and beneficent fruits were cultivated; and Religion^ 

 treed from the persecutions of the Heathens, employed'it to 

 record her triumphs. The temples, the receptacles of the 

 dead, and the monasteries opened their sacred asvlums, and 

 the art of painting portable portraits was universally cul- 

 tivated. From Constantinople to Rome, and from Rome 

 to Siberia, we find representations of the saints, the apo- 

 stles, and the divine mysteries. So many efforts, seconded 

 by the protection of the ecclesiastical councils, produced 

 some valuable specimens of art. The fragments of anti- 

 quity which had been collected, the study of the most an- 

 cient paintings and sculptures of the Christian ara, the 

 cxainplfs drawn even Ironi the monuments of Paganism 

 winch had been recently annihilated,— all contributed to 

 ^ecp ahve among the painters of those days the sentiments 

 o\ candour and tlic principles of true dignity. 



VVbai light then have wi; to throw ridicule upon these first 



expressions of ardent gratitude and religion ? How absurd 



G 4 would 



