By Richard McLanathan

Examines the Medieval interval when it comes to artwork and faith.

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The similarity of the three angels to one another suggests that the three are one, as does the composition that links subtly flowing lines. The soft color them by and the flame- forms become an expression of the quiet, mystic rapture of a man who had lived through the violence of Tartar invasions and the dread uncertainties and cruelties of Czarist despotism with faith unquenehed. The Byzantine tradition continued even after the final and irrevocable capture of Constantinople by the Turks in 1453, when the early Renaissance was in full Hood in Italy.

It was to such a nighttime service that a later emperor took the envoys of Vladimir, Great Prince of Kiev, late in the tenth century. Cathedral of St. Mark, Venice, begun 1063 whether we were Eastern Church, the altar in the sanctuary, the cen- The ter of the three apses at the east end. was of worked silken itself solid gold, curtains, hung with altar elaborately and surmounted by a silver ciborium, or canopy, rising in a gleaming pyramid high above. Behind were the seats for the clergy, curving to meet the throne of the Patriarch in the center of the semicircular apse.

Made of three hundred and fifty-four separate pieces, it a marvel of filigree in gold, silver, and bronze with enamel, amber, and glass. A microscope is needed to discover the fineness of its detail. Typiis amazing completeness of the work and dedication of the artist is the fact that one of the most beautiful parts is hidden from sight on all occasions except when the chalice is emptied at the end of the Mass, because it is contained in the cal of the hollow bottom of the foot. There the unknown Irish craftsman set a crystal in a complex frame of amber, silver, and gold.

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The pageant of medieval art and life by Richard McLanathan
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