Mont Saint Michel and Chartres (1904)
Context: The pathetic interest of the drama deepens with every new expression, but at least you can learn from it that your parents in the nineteenth century were not to blame for losing the sense of unity in art. As early as the fourteenth century, signs of unsteadiness appeared, and, before the eighteenth century, unity became only a reminiscence. The old habit of centralising a strain at one point, and then dividing and subdividing it, and distributing it on visible lines of support to a visible foundation, disappeared in architecture soon after 1500, but lingered in theology two centuries longer, and even, in very old-fashioned communities, far down to our own time; but its values were forgotten, and it survived chiefly as a stock jest against the clergy. The passage between the two epochs is as beautiful as the Slave of Michael Angelo; but, to feel its beauty, you should see it from above, as it came from its radiant source. Truth, indeed, may not exist; science avers it to be only a relation; but what men took for truth stares one everywhere in the eye and begs for sympathy.
