Diiserialion on the Pn'miing<t of the middle Age. 353 



cient nations was perhaps still more severe, but which is 

 natural to mankind, as we may be convinced among all 

 nations; and as I have myself reniarktd amidsf the bar- 

 barous nations of America, Africa, and even of Italy, which 

 I have studied in this respect in these different climates*. 

 As to the pantomimes whicli express action, it must be 

 adnjitted, that since the period of the paintings of the ma- 

 nuscript of Terence in the Vatican, attributed to the time 

 of Constantine, to the most trifling paintings of the same 

 kind which are to be met with, they are clear, natural, and 

 significant. The subjects are understood easily, and at a di- 

 stance ; no useless movements, no equivoques, no forced 

 complications. The signs are not so numerous as to be 

 more striking. What may we not erect upon such simple 

 and solid bases, and what force may we not add to these 

 elements of expression, true science, and the cultivation of 

 drawing? Is it not these very pantomimes, strong by their 

 clearness, and so expressive in point of naivete, which still 

 constitute the glory of Raphael, Poussin, and the greatest 

 painters of our days ? It is useless to recall here those heads 

 full of life which have excited the admiration of the critics. 

 But even if we should not have our own eyes as judges, 

 could we withstand the sentiments of some writers who 

 have been struck with the expression of the painters of 

 these times, and among others with the testimony of St. 

 Gregory Nazianzen, who informs us that he never cast his 

 eyes on a picture in which was represented the sacrifice of 

 Isaac, without being violently moved and without shedding 

 tears, — so well can painting pourtray this tender scene I 

 Finally, from the pious resignation of the virgins and 

 martyrs — from the ferocious image of the executioner, to 

 the chaste and ingenuous grace of the Mater Dei ; these 

 paintings afford us constant food fo,- meditation and study, 

 and may pave the way for important reforms in the artsf. 



Of their Drafjeries. 

 What shall we say of the draperies which still do 

 honour to the aits of the ancients ? Shall I here recall 



what 



* On the subject of the cliaracter of fij^urcs, we may ronsult Clampini, 

 tome ii. tab liv. as well an tUe musaic of Saint Agatha of Ravenna, already 

 qijoittd, tome i. tab. xlv. These paintings call to recollection the riches and 

 •iinplicity of the figures of the Greek vases, and all the noble grace of 

 ea>>ierii im^ery. 



+ There is a crowd of works which contain engravings after very fine 

 nonument*. and which mi^ht serve hs a proof: but I content myself with 

 quoting Bosio, in the work of which, besides the Sarcophagi which fre- 

 quently retrace the remarkable expression of the Shepherds adoring the 

 Vol. 4^ No. 181. Ma7j 16)3. Z Messiah. 



