primitive in a purely chronological sense, in so far as, for us, they are the first to come, and no older painting is known to us. But if to this designation we attach the meaning of a primitive spirit, we are egregiously mistaken. For the spirit which this art denotes is the same which we pointed out in religious life: a spirit rather decadent than primitive, a spirit involving the utmost elaboration, and even decomposition, of religious thought through the imagination.
In very early times the sacred figures had been seen as endlessly remote: awful and rigid. Then, from the twelfth century downward, the mysticism of Saint Bernard introduced a pathetic element into religion, which contained immense possibilities of growth. In the rapture of a new and overflowing piety people tried to share the sufferings of Christ by the aid of the imagination. They were no longer satisfied with the stark and motionless figures, infinitely distant, which romanesque art had given to Christ and His Mother. All the forms and colours which imagination drew from mundane reality were now lavished by it upon the celestial beings. Once let loose, pious fancy invaded the whole domain of faith and gave a minutely elaborate shape to every holy thing.
At first verbal expression had been in advance of pictorial and plastic art. Sculpture was still adhering to the formal rigidity of preceding ages, when literature undertook to describe all the details, both physical and mental, of the drama of the cross. A sort of pathetic naturalism arose, for which the Meditationes vitae Christi, early attributed to Saint Bonaventura, supplied the model. The nativity, the childhood, the descent from the cross, each received a fixed form, a vivid colouring. How Joseph of Arimathea mounted the ladder, how he had to press the hand of the Lord in order to draw out the nail, was all described in minute detail.
In the meantime, towards the end of the fourteenth century, pictorial technique had made so much progress that it more than overtook literature in the art of rendering these details. The naïve, and at the same time refined, naturalism of the brothers Van Eyck was a new form of pictorial expression; but viewed from the standpoint of culture in general, it was but another manifestation of the crystallizing tendency of thought which we noticed in all the aspects of the mentality
