234. Mr. Ruskin then referred to a series of drawings and photographs taken at Verona by himself and his assistants, Mr. Burgess and Mr. Bunney, which he had divided into three series, and of which he had furnished a number of printed catalogues illustrated with notes.[13]
I. "Lombard, extending to the end of the twelfth century, being the expression of the introduction of Christianity into barbaric minds; Christianization.
II. "The Gothic period. Dante's time, from 1200 to 1400 (Dante beginning his poem exactly in the midst of it, in 1300); the period of vital Christianity, and of the development of the laws of chivalry and forms of imagination which are founded on Christianity.
III. "The first period of the revival, in which the arts of Greece and some of its religion return and join themselves to Christianity; not taking away its sincerity or earnestness, but making it poetical instead of practical. In the following period even this poetical Christianity expired; the arts became devoted to the pursuit of pleasure, and in that they persist except where they are saved by a healthy naturalism or domesticity.
235. I. "The Lombardic period is one of savage but noble life gradually subjected to law. It is the forming of men, not out of clay but wild beasts. And art of this period in all countries, including our own Norman especially, is, in the inner heart of it, the subjection of savage or terrible, or foolish and erring life, to a dominant law. It is government and conquest of fearful dreams. There is in it as yet no germ of true hope--only the conquest of evil, and the waking from darkness and terror. The literature of it is, as in Greece, far in advance of art, and is already full of the most tender and impassioned beauty, while the art is still grotesque and dreadful; but, however wild, it is supreme above all others by its expression of governing law, and here at Verona is the very center and utmost reach of that expression.
"I know nothing in architecture at once so exquisite and so wild and so strange in the expression of self-conquest achieved almost in a dream. For observe, these barbaric races, educated in violence--chiefly in war and in hunting--cannot feel or see clearly as they are gradually civilized whether this element in which they have been brought up is evil or not. They _must_ be good soldiers and hunters--that is their life; yet they know that killing is evil, and they do not expect to find wild beasts in heaven. They have been trained by pain, by violence, by hunger and cold. They know there is a good in these things as well as evil: they are perpetually hesitating between the one and the other thought of them. But one thing they see clearly, that killing and hunting, and every form of misery, pleasure, and of passion, must somehow at last be subdued by law, which shall bring good out of it all, and which they feel more and more constraining them every hour. Now, if with this sympathy you look at their dragon and wild beast decoration, you will find that it now tells you about these Lombards far more than they could know of themselves.... All the actions, and much more the arts, of men tell to others, not only what the worker does not know, but what he can never know of himself, which you can only recognize by being in an element more advanced and wider than his.... In deliberate symbolism, the question is always, not what a symbol meant first or meant elsewhere, but what it means now and means here. Now, this dragon symbol of the Lombard is used of course all over the world; it means good here, and evil there; sometimes means nothing; sometimes everything. You have always to ask what the man who here uses it means by it. Whatever is in his mind, that he is sure partly to express by it; nothing else than that can he express by it."
