History of art . between the material invasion of thebarbarians and the moral invasion of had resigned itself, in the promised hope of a futurelife, to the hazards of its actual life, and, when it fledthe devastations of its countryside, it found no otherrefuge than its feeling for the supernatural. But despite everything, and contrary to the life andthe ideal which they had accepted, the artist-monkswere expressing, in those primitive sculptures thatwere invading the porches of the churches in everdenser crowds, the first sudden perturbations of theneeds of their time. A singu
History of art . between the material invasion of thebarbarians and the moral invasion of had resigned itself, in the promised hope of a futurelife, to the hazards of its actual life, and, when it fledthe devastations of its countryside, it found no otherrefuge than its feeling for the supernatural. But despite everything, and contrary to the life andthe ideal which they had accepted, the artist-monkswere expressing, in those primitive sculptures thatwere invading the porches of the churches in everdenser crowds, the first sudden perturbations of theneeds of their time. A singular force was mountingvery rapidly within these works. In close-growingvegetation made up of these rough forms, there circu-lated something of the sap and the energy which, inthe same centuries, were lifting up the wrought stoneof the Dravidian pyramids and the Cambodian tem-ples. A dull rhythm, a heavy and vigorous rhythm—like that with which the flood of the springtime carries CHRISTIANITY AND THE COMMUNE 275.
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Keywords: ., boo, bookcentury1900, bookdecade1920, booksubjectart, bookyear1921
