Pictures  of  the  bleeding  Christ  and  the  crucifixion
helped  to  produce  the  Crusades  and  the  bloody  In-
quisition was  its  climax.  Of  this  condition  Ruskin
said,  ''In  its  higher  branches,  this  realistic  Art
touches  the  most  sincere  religious  minds;  but  in  its
lowest,  it  not  only  addresses  itself  to  the  most  vulgar
desire  for  religious  excitement,  but  to  the  mere  thirst
for  sensation,  for  horror,  which  characterizes  the  un-
educated order  of  partially  civilized  countries — and
it  has  occupied  the  sensibility  of  Christian  women
invariably  in  lamenting  the  sufferings  of  Christ,  in-
stead of  preventing  those  of  the  people — for  the  Art
nearly  always  dwells  on  the  physical  wounds  or  ex-
haustion chiefly,  and  degrades,  far  more  than  it  ani-
mates, the  conception  of  pain. ' '

The  third  period  deals  with  the  return  of  Art  as  a
rightful  interpreter.  From  the  time  of  the  sixteenth
century  Reformation  with  its  open  Bible,  artists  be-
gan to  paint  pictures  with  greater  simplicity,  more
true  to  the  Scriptures  and  ancient  conditions,  other
scenes  receiving  prominent  recognition  and  His  suf-
ferings reduced  to  their  Scriptural  place,  as  in  the
works  of  Hunt,  Tissot  and  Hofmann.  However,  while
Thomas  a  Kempis,  in  Germany,  was  writing  his  ' '  Imi-
tation of  Christ, ' '  Fra  Angelico  was  preaching  to  the
multitudes  in  Italy  by  putting  his  faith  and  devotion
on  canvas.  His  excellence  in  painting  angels  appears
to  have  been  because  they  were  his  constant  com-
panions, for  the  atmosphere  of  his  studio  appears  to


252  WORKING   WITH   GOD

have  been  a  breath  of  heaven.  Farrar  called  him
''the  painter  of  the  pure  in  heart"  and  he  himself
said,  ''Hie  who  occupies  himself  with  the  things  of
Christ  must  ever  dwell  with  Christ."  Bartolommeo
was  the  personal  friend  of  Savonarola.  After  his
burning  the  artist  abandoned  Art  until  aroused  to
the  task  in  later  years  by  the  enthusiasm  of  Eaphael,
between  whom  there  arose  a  friendship  like  that  be-
tween David  and  Jonathan.  Botticelli,  who  wit-
nessed the  burning  of  Savonarola,  was  another  such
soul,  as  were  Giotto,  Duccio,  Ghiberti,  Bellini,  Luini,
Lotto,  Credi  and  others.  The  religious  artists  have
always  composed  a  small  group.  They  were  working
in  their  own  fashion  for  the  freedom  of  religion,  as
Savonarola,  Huss  and  Luther  were  working  in  their
fashion  to  the  same  end.
