. Sacred and legendary art . owe some of the grandest remainsof ancient Art, in architecture, sculpture, and painting. Already, in the fourth century, no sacred edifice was deemedcomplete, or could lay claim to the reverence of the people,unless it could boast the possession of some hallowed remains;and as the offerings of the faithful were multiplied by their ST. GERVASIUS AND ST. PROTASIUS 641 devotion, it became too much the interest of the priesthoodto lend themselves to these pious impositions; and even thechurchmen of the highest rank for energy and intellect wereeither seized by the pre
. Sacred and legendary art . owe some of the grandest remainsof ancient Art, in architecture, sculpture, and painting. Already, in the fourth century, no sacred edifice was deemedcomplete, or could lay claim to the reverence of the people,unless it could boast the possession of some hallowed remains;and as the offerings of the faithful were multiplied by their ST. GERVASIUS AND ST. PROTASIUS 641 devotion, it became too much the interest of the priesthoodto lend themselves to these pious impositions; and even thechurchmen of the highest rank for energy and intellect wereeither seized by the prevalent enthusiasm, or turned it toaccount for their own interests and purposes. When St. Ambrose founded a new church at Milan (a. ), the people besought him to consecrate it by some holyrelics: these, however, were not easily procured; at that timethey had not become articles of barter or merchandise. was most anxious to gratify his faithful people;it was also an object of importance to intercept some of the.
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Keywords: ., bookcentury1800, booksubjec, booksubjectchristianartandsymbolism
