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BIBLIOGRAPHY

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PAINTING

BY

BRYSON BURROUGHS

CHAPTER VI

PAINTING

I. ROMANESQUE

THE history of art is the record of the changing tastes and ideals of humanity. In art progress is not to be looked for as in the sciences. One style grows out of what has gone before and causes the one that follows, but the latter does not necessarily improve upon its predecessors. A style mirrors its epoch and its race. The student of the history of art strives to appreciate each phase at its own standards.

No fixed dates can be given to movements as the old always lingers on beside the new. An arbitrary starting point for this survey of modern painting may be found, however, at about the year 1150 in France, when the Romanesque style began to be quickened by the new spirit, that some two generations afterward, was to be fully expressed in Gothic art. It was about the date of the three windows of the western façade of Chartres cathedral and these most sumptuous examples of the art of painting in colored glass can be chosen as particular points of departure as they show within their rigid Romanesque forms, like many other works of the time, the germs of the energy and the desire of liberty which were destined to be the prime traits of the modern Europeans and those who descend from them.

The Romanesque style, common to the whole of western Europe before its inhabitants had attained national selfconsciousness, was, as far as its painting and sculpture was concerned, little more than the rude version of the art of Constantinople or Byzantium, then the capital of the Eastern Empire and the centre of Christian culture. Byzantium was the heir both of Greece and the Roman Empire and there the late manifestations of the arts of these civilizations met and merged with the art of the color-loving Syrians, giving birth

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