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Webb, Architecture in Britain: The Middle Ages (Pelican History of Art), Harmondsworth, 1956; L. Stone, Sculpture in Britain: The Middle Ages (same collection), 1955; M. Rickert, Painting in Britain: The Middle Ages (same collection), 1954; S. , Antwerp, 1937-39; E. H. Ter Kuile, De Bouwkunst van de middeleeuwen, Amsterdam, 1948. East and West : Romanesque Art Chapter One The Great Experiments: The Eleventh Century THE Middle Ages were from the involved in a clash of traditions. first may be envisaged In one aspect, the history of the period effort by the West to resolve the conflict offerees resulting invasions.

First a succession of new confronted with the problem, —and with this was indissolubly linked the further problem, Mediterranean or barbarian culture ? The (17) history of medieval art recounts the THE ART OF THE WEST l8 manner Oriental its which the West, in own period of dependence on Mediterranean, after a and barbarian forms, established a judicious equilibrium, created its architecture, its humanism, and defined its own specific forms, culture. period following the invasions, during which the The were consolidated, shows tradition, as a not so much a kind of shifting of values.

The blind man high on Reims cathedral proclaims the twin glories of divine justice and human patience. To the sweetness of the Gospels, to the majesty of theology, the humanism of the images adds the strength of sincerity centre, this It exists in man sympathy and openness of and attains its full of its that heart. It encompasses image of God meaning. for all things living, a is all it dedicates The superb humanity him things and sets man in the humanity. In this context the word humanity of Greek sculpture the sphere of the incorruptible, and immerse him on every side all wonderful compassion and to solitude.

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