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Chapter XVI Saint Thomas Aquinas (en) |
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Chapter XV The Mystics (en) |
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Naturally man tended to lose his sense of scale and relation. A straight line, or a combination of straight lines, may have still a sort of artistic unity, but what can be done in art with a series of negative symbols? Even if the negative were continuous, the artist might express at least a negation; but supposing that Omar's kinetic analogy of the ball and the players turned out to be a scientific formula! supposing that the highest scientific authority, in order to obtain any unity at all, had to resort to the middle-ages for an imaginary demon to sort his atoms! how could art deal with such problems, and what wonder that art lost unity with philosophy and science! Art had to be confused in order to express confusion; but perhaps it was truest, so. (en) |
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Chapter VIII The Twelfth Century Glass (en) |
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Mont Saint Michel and Chartres (1904) (en) |
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Chapter III The Merveille (en) |
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Chapter IX The Legendary Windows (en) |
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Chapter II La Chanson de Roland (en) |
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Chapter I Saint Michiel de la Mer del Peril (en) |
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Chapter XII Nicolette and Marion (en) |
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Chapter V Towers and Portals (en) |
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Chapter XI The Three Queens (en) |
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Chapter XIII Les Miracles de Notre Dame (en) |
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Chapter VII Roses and Apses (en) |
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Chapter IV Normandy and the Ile de France (en) |
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Chapter X The Court of the Queen of Heaven (en) |
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Chapter XIV Abélard (en) |
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Chapter VI The Virgin of Chartres (en) |
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https://en.wikiquote.org/wiki/Henry_Adams
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qkg:Context197831
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