First published in 1930, this book deals with Byzantine art, not
as an isolated province, but as one intimately connected with the
subsequent history of European painting. After a summary of the
whole question in its relation to modern art, the second chapter
opens with a novel analysis of the iconoclast controversy, and
shows how it was only by this movement that Hellenistic naturalism
was finally vanquished and the seed of interpretational art planted
in Europe in its stead. The third chapter reveals how this seed was
nourished by the Constantinopolitan Renascence, and how that event,
combined with the increasing humanisation of religious emotion,
culminated, not only in Duccio and Giotto, but in the equally
important work of their contemporaries at Mistra and Mount Athos. A
detailed account of these works is given and in the last part of
the book, the mystery of El Greco is finally resolved.
The book is based, not only on extensive research but on
personal observation of nearly all the works mentioned, in
Constantinople, Greece, Crete, Italy, and Spain. It is an important
and exciting addition to the history of European Art and
establishes, scientifically, theories which only existed in
conjecture before its publication. The book includes 94 black and
white plates.
General
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