and burningly loved Christ. With them the intellectual appropriation of dogmatic Christianity was subordinate.
Such men and women were poets and artists, even when they wrote no poetry, and did not carve or paint. For their lives were poems, unisons of overmastering thoughts and the emotions inspired by them. The life of Francis was a living poem. It was kin to the Dies Irae, the Stabat Mater, the hymns of Adam of St. Victor, and in a later time, the Divina Commedia. For all these poems, in their different ways, using Christian thought and feeling as symbols, created imaginative presentations of universal human moods, even as the lives of Francis and many a cloistered soul presented like moods in visible embodiment.
Such lives likewise close in with art. They poured themselves around the symbols of the human person of Christ and its sacrificial presence in the Eucharist; they grasped the infinite and universal through these tangibilities. But the poems also sprang into being through a concrete realizing in mood, and a visualizing in narrative, of such symbols. And the same need of grasping the infinite and universal through symbols was the inspiration of mediaeval art: it built the cathedrals, painted their windows, filled their niches with statues, carving prophet types, carving the times and seasons of God's providence, carving the vices and virtues of the soul and its eternal destiny, and at the same time augmenting the Liturgy with symbolic words and acts. So saint and poet and artist-craftsman join in that appropriation of Christianity which was putting life into whatever had come from the Latin Fathers, by pondering upon it, loving it, living it, imagining it, and making it into poetry and art.
It is better not to generalize further, or attempt more specifically to characterize the mediaeval genius. As its manifestations pass before our consideration, we shall see the complexity of thought and life within the interplay of the moulding forces of mediaeval development, as they strove with each other or wrought in harmony, as they were displayed in frightful contrasts between the brutalities of life, and the lofty, but not less real, strainings of the spirit, or again in the opposition between inchoately variant ideals and the endeavour for their more inclusive reconcilement.
