The Iola register. [volume] (Iola, Allen County, Kansas) 1875-1902, 1899-11-24

teach his gospel. 1t was inevitable
that 1t should arouse the strongest
opposition in its attitude toward
pagan principle, and it was natural
that in Rome the early Christians
should meet the most vlndictive
persecution.
Rome, with ali her greatness had
done nothing to forward the develop.
ment of painting. She had con-
quered the art she possessed IN her
palmiest days, and as she plunged
deeper and deeper into the excuses
that presaged her fall she lost sight
of even this advantage, and the glory
of sculpture and painting was de-
graded TO the toll of slaves.
And it was such work which marks
the fret pictorial expression of the
wondrous: force which had taken
such firm root in the midst of the
luxury and RIGHTEOUSNESS of the ex-
piring mistress of the world. The art
we have today 10 distinctively Chris
tian, and Christian painting had it's
birth in the catacombs in the picture
story of some sainted soul as 1t was
portrayed by q mechanical hireling
artist who had embraced the astound-
ing new faith. Painting had become
again only record. maker as it was
in ancient Egypt, and the early
Christians looked upon pictures and
sculpture in much grave doubling, as
being allied with idolatry.
But 1t soon became necessary to ex-
press in some measure the elements
of the belief which sustained them in
such .grievous affliction, and they
adopted the beautiful symbolism
which has left its suggestive traces
through all our history. The niches
in their rock-hewn burial places,
branch of palm denoted victory, the
peacock was the sign of Immortality,
the lamb stood for the great sacrifice,
the ship for the church, and the vine
expressed the life which was made
for growth and happiness. These
things had distinct reference to
scriptural pa ssages which were filled
with comfort and joy, and as time
passed on larger alphabet was es-
sential to the needs of larger hope.
They began to build churches, at
first remodelling abandoned Roman
basilicas and very soon selecting the
form of the cross as being the fittest
plan. The majority of the people
could be reached most readily by
means of pictures, the wide wall
spaces offered proper advan-
tage, and so the scriptures were
taught by means OF pictures and the
churches were decorated with a lory
that suggested the new Jerusalem.
And the means they selected were
not often pigments and brushes, but,
for the most part, the patient and
enduring process of Mosaic. The
skill and the beauty of this work had
the spiritual basis that was expressed
alter on in the mIssal painting, and
bit by bit the polished stone or
cleaning glass was put into its
distinct place until the picture was
complete. There were significant
adaptations at first from the pagan
mythOlogies, then stories from the
old Testament, and as browning
beneficence portraits of the Savior
and the Virgin Mary and the figures
OF the leading miracles. The paint
ing of glass came into general use and
splendid windows enhanced the
treasures of the growing spirit of
creation :and the way was prepared
for the transition to fresco and paint
ing proper.
With the accession of Constantine
Christianity became firmly estab-
lished but the Byzantine influence
was cold and mechanical, though it
produced greater richness of Access
sores. The blue backgrounds hither-
to retained by the mOsaists as signih-
cant of the broad expanse of heaven
and the brOoding care of God were
now exchanged for splendid gliding
which was only significant OF barbaric
magni1icence, But the Gothic archi-
lecture was well Suited to Christian
aspiration, with its pointed arches
and delicate traceTy, and this was
remedial factor in the art of the period
which has borne its fruitage many
hundred fold.
With all its blessed sanity, the very
force of it, together with the worlds
sntagonism, created in the new re-
ligion elements of fanatacism and
asceticism, and early Christian art
could not be really good art. Look
ing forever forward to the life to
come.the eager disciples of the new