. The life of our Saviour Jesus Christ : three hundred and sixty-five compositions from the four Gospels. rnamentation in their buildings, and that what we call originality now-a-da YS zcas totally unknown in that time of unchanging traditions. The artist was allowed but an jnfinitely small amount of liber- |!|!ty of design ; hehad but to carryout the ivishes ofthe higher pow-ers. Art was al-most exclusicelyrestricted to theservice of reli-gion , and wascompelled notonly to submit toits influence butto carry out itsorders. This isself-evident in themonuments ofEgyptian artwhich have comedozen
. The life of our Saviour Jesus Christ : three hundred and sixty-five compositions from the four Gospels. rnamentation in their buildings, and that what we call originality now-a-da YS zcas totally unknown in that time of unchanging traditions. The artist was allowed but an jnfinitely small amount of liber- |!|!ty of design ; hehad but to carryout the ivishes ofthe higher pow-ers. Art was al-most exclusicelyrestricted to theservice of reli-gion , and wascompelled notonly to submit toits influence butto carry out itsorders. This isself-evident in themonuments ofEgyptian artwhich have comedozen to us, andJeicish art couldnot,of course, es-cape a law so ge-neral thrOWJl- ^ ^ i omr 01 ,m in me I alley of jennshjf-hal. j .j i out the East: moreover, the presence of the massive buildings dominating ffie Willey ofjeho-shaphat would necessarily exercise a considerable influence oiYr the imagination of the artistsof the day. What better cnuld thev do than imitate the 1 em pie? Was it not built under con-ditions of exceptional splendour? Was if not a sacred building, every stone of which zvas. JEKLSALHM 75
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Keywords: ., bookcentury1800, bookdecade1890, bookidli, booksubjectjesuschrist
