. Art in France. tooktheir place in the universal revelation ;the roots of Christianity struck deeper,and art received its vital sap from thesoil on which it flourished. It was for this reason that it be-came more and more realistic andconcrete. After the evolution of anurban civilisation, the various guilds discovered patrons and pro-tectors ; the faithful organised the celestial world after the fashionof their own, and the vague personalities of saints and martyrsentered the communalcorporations and assumedtheir attributes. St. Bar-tholomew became a tanner,St. Thomas a stonemason,St. Crispin
. Art in France. tooktheir place in the universal revelation ;the roots of Christianity struck deeper,and art received its vital sap from thesoil on which it flourished. It was for this reason that it be-came more and more realistic andconcrete. After the evolution of anurban civilisation, the various guilds discovered patrons and pro-tectors ; the faithful organised the celestial world after the fashionof their own, and the vague personalities of saints and martyrsentered the communalcorporations and assumedtheir attributes. St. Bar-tholomew became a tanner,St. Thomas a stonemason,St. Crispin a shoemaker,St. Christopher a porter;the perfumers placed them-selves under the protectionof the Magdalen; thegoldsmiths, under that ofSt. Eloi (Eligius); was a knight, S;.Luke a painter, St. Martha a servant. These relations betweenmankind and the saints became closer and more numerous in the FIO. IS3.—FIGURE OK ONE OF THE SAVED IN THE LAST JlDGMENT OF THE CATHEDRAL OF BOUROES. {Photo. Miciisement.). -THE CORONATION OF THE VIRGIN. (The Louvre, Paris/) This phial, preserved in the Cathedral, contained the oil for the coronation ceremony,smashed with a hammer by the revolutionaries in I 793. 76 COMMUNAL OR GOTHIC ART course of the Middle Ages; artists imagined less and less, andcopied more and more, in representing this Christian , the Virgin, and a few other figures whose features wereclearly fixed by tradition, were brought more into harmony withdaily life, without ever becoming portraits or losing the generalaspect determined centuries ago; but all around them a host ofsecondary actors assume a more realistic appearance; m sculptureas in painting, Gothic art, illustrating the Gospels, or the narrativeof Jacobus de Voragine, showed theimage of the medieeval world to thefourteenth and fifteenth centuries. The subject of the Last Judgment,which is found in nearly all the greatcathedrals, demonstrates the formationand transformation of a motive duringt
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