Evening star., 1928-03-25
BY WILL DURANT, Ph. D.,
Author of
The Story of Philosophy"

of the Romans was varied by crossing
one with another to make, at the CEN
ter, 'groincd'' diagonal arch.
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Romanesque architecture achieved it's
greatest triumphs I'm the North. In Italz
It produced the Cathedral Of San Gior-
gio at Ferara "a compromise between
Roman simplicity and Gothic ornamen-
tation), and the Baptistry and Leaning
Tower of Pisa: finer than these were
the cloIsters of st. Trophime at Aries;
but finer still were the cathedrals at
Mainz, Speyer and Worms. Then, as
we pass to Normandy and England we
reach the loVclieSt form Of Roman
esque, called Norman" architecture
from the reckless warriors who in the
eleventh century established themselves
IN Sicily. In northern France and In
England All the educated world loves
Henry Adams rhapsody on Mont Saint
Michel. in Normandy. that powerful
proof of Norman character" placed
high on rock in the sea, and surpass-
ing even the Atlantic in majesty: but
nothing at SAINT Michel is quite so
beautiful as the interior of the Abb
baye aux Danes" tthe Women S
church, at Caen.
In 1866. as every urchin knows, Will
liam of Normandy invaded England
and subjected II to Norman tithes and
ways. Something OF the glory of his
killing can be forgiven when one has
seen the perfection of the Norman style
in England-in the cathedrals at Nor
wich, Durham and Canterbury in the
castles at Dover and Leeds. The Tower
Of London is a famous monument To
Norman architecture: but the memory
of its horrors inhibits all appreciation
OF its style. Yet the tower symbolizes
well the Norman character in war and
art; George Moore properly contrasts
the gravity of Romanesque and the
gayety OF Gothic
OF Europe that in the twelfth century
1t began TO produce the fairest archi-
lecture that the world has ever known?
We must not everyday the notion that
the passing OF the fearful year 1000
I marked the revival of the European
soul. and the Inauguration Of an epoch
OF energy and creation. Doubtless II
was a matter of economic accumulation
rather than a process of the spirit. The
rose out of the revival of European
trade and rested more on the wealth OF
the guilds than on the power of the
church. Every one OF these cathedral
represented the pride of a town and
the prosperity Of its artisans; 1t was the
rivalry OF town with town and OF guild
with guild that glorified the soil OF
Europe with the most superb creations
IN human history. IL was a remarkable
Synthesis (as the Crusades had beenl
, of the secular and religious elements OF
T medieval life: the church provided the
end and the merchants and workers
provided the means. The new archi-
lecture was the expression OF a new
sense of power a buoyant happiness as
OF completed adolescence. Never be-
fore had art been so thoroughly the
voice and labor OF a people. and never
has II been so again: only medieval art
is worthy of TolStoi's conception OF art
as the emotional expression OF an en-
tire community.
Gothic architecture has nothing tc
do with Goths 1t was Raphael who
invented the term, intending TO de-
nounce the new style as barbarous.
Gothic" then implied what Hun
means tranSientlv in our time. When We
are III TIE ElOOu I'd Ilf1k Au}eCtlNSS Al
our enemies let US remember that such
words were once flung by men far wiser
than ourselves at the finest work ever
done by the human hand Perhaps, oi
course. Raphael was correct: we shall
see Goethe echoing his judgment 40C
years later; but meantime We shall have
the courage Of our convictions. and
trust our own eyes and hearts. For In
art, as in some other things. IL is better
10 follow ones own amateur preference
developing and ennohiing that as far
as We can. than TO follow. against the
dictates of our souls, the profound and
secEarian judgments Of professionals.
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The new style came out Of Roman
esque through Oriental suggestions
Continued on Fifth Page.l