DOI Page / Citation link:
https://doi.org/10.11588/diglit.68796#0092
72
Mediceval Florence and Her Painters part i
The classical artist had learned both to provide the
temporary apparatus for the festivals, and to perpetuate in
monuments the feelings which gave them birth. The
Christian feast, of common ecclesiastical significance, or in
memory of some local saint or martyr, demanded similar
apparatus and commemoration, and these were supplied
at first very much on the old classical lines. The Church
acted on the well-known Horatian maxim, and sought to
stimulate the minds of her children through their eyes as
well as their ears. ‘ At a very early period,’ says a recent
writer1—certainly already in the fifth century—‘ it was
usual to increase the attractions of public worship on special
occasions by living pictures illustrating the gospel narrative
and accompanied by songs ; and thus a certain amount of
action gradually introduced itself into the service.’ A
sacred drama on classical models on the Passion of Christ
(Xptcrros Trdcr^wp) is generally included under the works of
Gregory Nazianzen, and the Mysteries or miracle-plays
grew to be settled institutions of the early mediaeval
period.
§ 50. How Christian Painting began.
Permanent representations were soon demanded, and
we obtain an interesting glimpse of the beginnings of the
most important form of Christian painting in the writings
of Paulinus of Nola, from the early years of the fifth century.
Paulinus as Bishop had to take care for the education and
conduct of his flock, and observed with concern that when
the people came together to celebrate the festival of the
patron saint of his church, they got to feasting and dancing
to wile away the long hours of vigil, or the intervals
between the religious services. Hence he conceived the
1 Prof. A. W. Ward, in Ency. Brit., 9th ed. Art. ‘ Drama,’ p. 413.
Mediceval Florence and Her Painters part i
The classical artist had learned both to provide the
temporary apparatus for the festivals, and to perpetuate in
monuments the feelings which gave them birth. The
Christian feast, of common ecclesiastical significance, or in
memory of some local saint or martyr, demanded similar
apparatus and commemoration, and these were supplied
at first very much on the old classical lines. The Church
acted on the well-known Horatian maxim, and sought to
stimulate the minds of her children through their eyes as
well as their ears. ‘ At a very early period,’ says a recent
writer1—certainly already in the fifth century—‘ it was
usual to increase the attractions of public worship on special
occasions by living pictures illustrating the gospel narrative
and accompanied by songs ; and thus a certain amount of
action gradually introduced itself into the service.’ A
sacred drama on classical models on the Passion of Christ
(Xptcrros Trdcr^wp) is generally included under the works of
Gregory Nazianzen, and the Mysteries or miracle-plays
grew to be settled institutions of the early mediaeval
period.
§ 50. How Christian Painting began.
Permanent representations were soon demanded, and
we obtain an interesting glimpse of the beginnings of the
most important form of Christian painting in the writings
of Paulinus of Nola, from the early years of the fifth century.
Paulinus as Bishop had to take care for the education and
conduct of his flock, and observed with concern that when
the people came together to celebrate the festival of the
patron saint of his church, they got to feasting and dancing
to wile away the long hours of vigil, or the intervals
between the religious services. Hence he conceived the
1 Prof. A. W. Ward, in Ency. Brit., 9th ed. Art. ‘ Drama,’ p. 413.