Портрет Высокого Возрождения

Все то лучшее, что было достигнуто в картинах и портретах работы Леонардо да Винчи, Рафаэля и других крупных мастеров, поднимало искусство Италии на новую, невиданную высоту.

Время наивысшего расцвета и подъема итальянской культуры на рубеже XV-XVI веков называют периодом Высокого Возрождения. Замечательные открытия и достижения Леонардо, совершенство и красота картин Рафаэля служили высоким образцом, которому следовали многие художники, их современники. Среди них можно назвать и Манчини – автора "Мужского портрета", который находится теперь в Эрмитаже. Манчини умело выделяет фигуру молодого человека, помещая ее в центрена темном фоне и сильно освещая. Художник привлекает к нему внимание яркими красками нарядных одежд.

Симметрично расположенные по бокам арка (за которой виднеется голубое небо, башни и здания города) и ниша в стене со скульптурой Венеры подчеркивают равновесие и спокойствие композиции.

У юноши уверенный, полный сознания собственного достоинства взгляд. И, как бы подчеркивая спокойное величие этого человека, художник дает плавную, округлую линию шеи, плеча, широкого, спокойно ниспадающего рукава его одежды. Лицо молодо и красиво. Глаза скрыты полутенью, которая невольно заставляет нас всматриваться в них.

Юноша изображен один, в задумчивом, сосредоточенном молчании.

Возможно, это поэт или, во всяком случае, ценитель и знаток искусства. Книга, которую он держит в руке, также дает повод для такого предположения. И не случайно в нише за ним – античный памятник, древний, частично разрушенный. Это богиня любви и красоты.

Любовь, красота человека, мастерство античных скульпторов не раз вдохновляли людей Возрождения.

И здесь так же, как и в картинах Рафаэля, все кажется таким правдивым и естественным, но одновременно воспринимается как что-то особенно прекрасное, величественное, приподнятое.

Создавая портрет, художник умело отбирает детали, которые характеризуют черты человека Возрождения – его ум, культуру, разнообразные интересы, красоту, независимый и смелый характер.

Этот великолепный портрет – одно из многочисленных прекрасных произведений искусства Возрождения. Он создан отнюдь не самым значительным художником. Это дает представление о том, на каком высоком уровне развития находились культура и искусство Италии в тот период.

 

 

B

 

... художники, используя церковный сюжет, стремились шире и правдивее отразить жизнь.

То же самое, в сущности, делает и Чима да Конельяно в картине "Благовещение". Он помещает крылатого ангела и мадонну в обычную комнату дома эпохи Возрождения. А ведь он мог бы изобразить их на золотом фоне (как это сделали бы в XIII веке) и все-таки при этом передать основное содержание картины – показать, как ангел приносит мадонне благую весть о том, что у нее скоро родится младенец Христос.

Почему же художник XV века отказывается от золотого фона? Очевидно, изображение дома, города, горы, деревьев за окном для него также очень интересно, и он пользуется любым случаем, даже заказом церкви, для того чтобы поместить все это в картине.

Не случайно за окном оказался город. Это время, когда города играют исключительно важную роль в жизни страны.

Вдали виден феодальный замок, возможно, уже покинутый хозяином, напоминающий о недавнем прошлом. Много деталей в обрисовке обстановки комнаты. Вот маленький стульчик, очень похожий на детский, но может быть художник просто еще не всегда верно соблюдает пропорции и рядом с вытянутой фигурой ангела помещает непропорционально маленький стул. Но, изображая его, художник показывает продавленное сиденье. Даже такая мелочь от него не ускользнула. Тут же – листок с надписью. Письмена выделены так точно, что можно их прочесть. Там написано полное имя художника и дата – 1495 год – год, когда создана картина.

На листке сидит пчела, на ножке столика – муха. Ботанически точно изображен цветок лилии. Некоторые из этих подробностей даже начинают нас отвлекать от главного содержания картины, и мы невольно задумываемся, зачем здесь этот стульчик или муха.

Художники того времени чрезвычайно увлекались деталями.

Чима да Конельяно, как и другие мастера той поры, пытается решить проблему перспективы. Он изображает комнату, потом дает невидимый для нас участок (мы не видим, что находится сразу за окном, т.к. здания города расположены уже на каком-то отдалении от него), а затем на горе изображает небольшие по размеру дома, деревья, то есть показывает первый и – следом за ним – третий план перспективы.

От фигуры ангела падает тень (то, чего раньше мы не видели). Это означает, что художник хочет подчеркнуть, что фигура находится в определенном пространстве. Тень падает и от других вещей и предметов, в частности от стульчика, от ставни окна и даже от загнувшегося листа бумаги.

Ангел представлен идущим по комнате, корпус его наклонен и устремлен вперед, одежда развевается. Таким образом художник решает и проблему передачи движения. Но тут же он помещает почти неподвижную мадонну так, что нам неясно положение ее фигуры (стоит ли она, сидит или опустилась на колени). Старое в картинах еще долго сосуществует с новым.

 

 

Exercise 2: Render the underlined words and word combinations into English in more than one ways.

Exercise 3: Render into English the theses statements; develop an outline of the extract and abridge the text according to it. Render the abridged extracts into English. Employ the vocabulary of the text "The Renaissance".

 

Exercise 4: Translate into English; avoid looking up words in a dictionary.

 

Одним из самых заметных периодов в истории искусства является период Ренессанса. Он берет свое начало в Италии. Характерными чертами этого периода были заметное улучшение благосостояния и интерес к учению. Слово Ренессанс означает “возрождение”. Это был действительно период возрождения интереса к гуманистической философии и литературе древних Греции и Рима.

Изобретение печатного станка способствовало распространению идей далеко за пределы Италии, по всему миру. Многие идеи Ренессанса, особенно те, которые прославляют достоинство и красоту человека, и сегодня действуют (процветают) в западной культуре.

Человек в период Ренессанса не забывал Бога, но у него появилось больше уверенности в себе. Он сильнее верил в окружающий мир, чем его средневековые предки. Художник Ренессанса хотел быть большим, чем неизвестным ремесленником в услужении Бога. Он был гордым гением, который искал славы и признания. Деньги стали важной основой личной власти.

Гуманизм – важная культурная сила Ренессанса – означал возобновление интереса к человеку, ко всему, что его окружало, к ценностям и формам классической Греции и Рима. Художник стал ученым-исследователем природы. Новое открытие анатомии художником Ренессанса – наиболее явное выражение возрожденного интереса к человеку. Человеческое тело было символом гуманизма, чувства собственного достоинства и уверенности в себе. Художник привносил разумность и порядок в окружающий мир через использование перспективы. Иллюзия пространства на ровной поверхности создавалась с помощью исчезающих точек, линии горизонта.

Человек, который сегодня кажется наиболее ярким воплощением многих идей этого периода, – Леонардо да Винчи. Он был универсальным гением, достиг многого в живописи, архитектуре, музыке. Его тетради заполнены схемами и эскизами, которые доказывают его веру в способность человека управлять окружающим миром посредством своего интеллекта.

 

 

STEP 5: Planning A Composition

 

A composition is a creative literary work, conveying several problems or dealing with one problem in detail. In a composition, a writer is expected to set out the facts as they are, the primary objective being their accurate and impartial presentation. In a composition, a writer assembles facts. Let us see what the structural pattern of the composition is.

 

    

 

 

 

Whichever subject you choose, you will have to

 

v do a little research in order to collect the necessary factual material

v organize your composition by logical division of the main theme, arranging the items in order of increasing importance (or vice versa), or in chronological order

v preserve a proper balance in the treatment of your points

v allocate space according to the importance of each item, without, however, giving too much space to any one of them.

(For more information see Reference Section)

 

Exercise 1: Arrange the jumbled paragraphs into a text.

VINCENZO PERUGIA

 

1.  And Mona Lisa? After a triumphal tour of several Italian museums, she was returned to France. She hangs - at least as of this writing - safely in the Louver. Romantics say her smile is even more enigmatic than before.

 

2.  Thus begins the story of the most famous art theft in history, of the most famous painting in the world, and of the man who would inevitably become the most famous art thief of all time: Vincenzo Perugia.

 

3.  More than two years would pass before the thief surfaced. Then, in November of 1913, an art dealer in Italy received a letter from a man who signed himself “Leonard”. Would the dealer like to have the Mona Lisa? Would he. Of course it was a joke. But was it? The dealer arranged to meet "Leonard" in a hotel room in Florence. “Leonard” produced a wooden box filled with junk. The junk was removed, a false bottom came out of the box, and there, wrapped in red silk and perfectly preserved, was the smiling face of Mona Lisa. The dealer swallowed his shock and phoned for the police.

 

4.  “Leonard” was actually an Italian named Vincenzo Perugia - a house painter who had once done some contract works in the Louver. As he told the story of the theft, it was amazingly simple. On the morning in question Perugia, dressed in a workman's smock, walked into the museum, nodded to several of the other workers, and chose a moment when no one else was in the Salon Carre to unhook the painting from the wall. Then he slipped into a stairwell, removed the picture from its frame, stuck it under his smock, and walked out. Stories that Perugia had accomplices have never been proved.

 

5.  French newspapers announced the catastrophe under the banner headline "Unimaginable!" All during the weeks that followed, rumors abounded. A man carrying a blanket-covered parcel had been seen jumping onto the train for Bordeaux. A mysterious draped package had been spotted on a ship to New York, a ship to South America, a ship to Italy. The painting had been scarred with acid, had been dumped in the sea. All clues, however far-fetched, were followed up, but no trace of Mona Lisa could be found.

 

6.  What were the thief's motives? And why, after pulling off what can only be described as the heist of the century, did he so naively offer the painting to the Italian dealer? Perugia claimed he was motivated by patriotism. Mona Lisa was an Italian painting by an Italian artist. Believing (mistakenly) that it had been stolen by Napoleon to hang in France, he wanted to restore it to its rightful home. At the same time, however, he expected to be "rewarded" by the Italian government for his heroic and thought $ 100,000 would be a good amount. No one shared this point of view.

 

7.  At 7:20 on the morning of August 21, 1911, three members of the maintenance staff at the Louver paused briefly in front of the Mona Lisa. The chief of maintenance remarked to his workers, "This is the most valuable picture in the world." Just over an hour later the three men again passed through the Salon Carre, where Leonardo's masterpiece hung, and saw that the painting was no longer in its place. The maintenance chief joked that museum officials had removed the picture for fear he and his crew would steal it. That joke soon proved to be an uncomfortably hollow one. Mona Lisa was gone.

 

8.  Perugia was tried, convicted, and sentenced to a year in prison. After his release he served in the army, married, settled in Paris, and operated a paint store. Soon Perugia, who had so briefly captured to world's headlines, settled back into the obscurity from which he had emerged.

 

Exercise 2: Write a reproduction; follow the instructions of Step 5 in Part II.

 

Exercise 3: What part of a composition structure (a beginning, a bulk, an end, a thesis statement) can the passages below be? Give a brief account of your reasons.

 

a) The term “Renaissance man” is applied to someone who is very well informed about, or very good at doing, many different, often quite unrelated, things. It originated in the fact that several of the leading figures of the Renaissance were artistic jacks-of-all-trades.

b)  No clues are offered by the scant knowledge about Leonardo's origins to explain what spawned perhaps the most complex imagination of all time.

c) Mona Lisa has been the object of special fascination ever since it was painted.

d)  Since painting was newly popular, artists took great interest in its physical properties, and the materials of that medium changed radically.

e) His equal may never be seen again, for only a particular time and place could have bred the genius of Michelangelo.

Exercise 4: Make up writing plans of a composition for each of the above passages.

 

Exercise 5: Write a few paragraphs on one of the given leads (see the passages above).

 

 

 

PART IV

THE BAROQUE

THE BAROQUE

Historical Background

Welcome to “History through Art”. Today we’ll be looking at the history, culture and art of the Baroque, a period of turbulence that began about 1545. It was a time when the Renaissance celebration of all humanity switched its focus to the rich, self-centered privileged class who could afford to sponsor artists to immortalize their opulent life-style. The wealthy also were patrons to artists who depicted both religious and secular scenes with great motion, light, and sensuality. Today, you can see the Baroque influence in the ornate curlicues around the doors of old buildings and antique picture frames, and even in the string quartets and chamber groups that play at formal weddings and parties.

As is usually the case, the art, music, and writing of the Baroque reflect the world in which they were created. The Baroque period was one of great turmoil, particularly in two intertwined areas: politics and religion. For instance, Elizabeth I, England’s Protestant queen, was busy fighting Phillip II, Spain’s Catholic king. You can get a sense of the Queen’s wealth and power just by looking at this portrait of hers. When the Queen’s navy defeated the Spanish Armada in 1588, it was considered a religious as well as a political victory. Meanwhile, both countries’ explorers were competing for land with the French in the New World. In 1643, France’s King Louis XIV joined the race for wealth and power in both Europe and the New World. Again as you can see the King’s clothing and manner reflect the opulence that was so highly regarded during the Baroque.

Europe’s conflicts were compounded by religious unrest. In 1517, Martin Luther sparked the religious upheaval by suggesting that the Catholic church reform itself by correcting the corrupt practices it had developed over the years. By 1545, the Catholic church had rejected Luther’s reforms at the Council of Trent, but began to institute some reforms of its own. Meanwhile, Protestants and Catholics clashed in France until the Edict of Nantes legalized Protestantism in 1589. When the Edict was later reversed, violence resumed. During this chaotic period, the Catholic church sought to hold on to the faithful by designing splendid rituals and building soul inspiring churches that were decorated with ornate, gilded sculpture and flamboyant, vibrant paintings. In this way, art became the servant of the church and subtly mirrored the conflicts of the time. This ostentatious Baroque style continued throughout the 17th century and into the 18th century in Europe, most notably in Spain, Italy, France, and the Netherlands, often called Holland.

Baroque art showed little restraint compared with past styles, and these extravagances were soon emulated in the palaces of the nobility and in the wonderfully intricate, motion-filled music of such composers as Vivaldi and Handel. Obviously, this extravagant style still appeals to people today because certain Baroque musical works are embedded in our cultural heritage. A Christmas season never goes by without many performances of Handel’s Messiah. Vivaldi’s Four Seasons is another musical favorite in the Baroque style.

The Baroque era reached its most whimsical point with the development of a playful, sensual style called Rococo. This style lingered on among the nobility even after some artists, scholars, and philosophers had entered the Age of Enlightenment. As you will see in this programme, Baroque artists have contributed much to what is considered lush and sumptuous in Western civilization today.

Part I

 

“When that sweet Huntsman from above

First wounded me and left me prone,

Into the very arms of love

My stricken soul forthwith was thrown

The dart wherewith He wounded me

Was all embarbed round with love,

And thus my spirit came to be

One with its Maker, God above.”

 

Dynamic. Dramatic. Splendid. Sensuous. Turbulent. Tempestuous. The 16^th century nurtured a period of great conflicts and confusions – religious, political, and intellectual. The ship of the church was storm-tossed on a sea of controversy.

Luther and the Protestant Reformation set Europe ablaze. Men set the torch to one another with religious passion. The Catholic Counter-Reformation brought with it the dread Inquisition and a great outburst of religious art. The French armies of Francis I swept into the Italy of the Renaissance. And Charles V, the Holy Roman Emperor, in his running feud with the Popes, sacked Rome in 1527. His troops set fire to the city – one of the greatest monuments of Christendom. The discoveries of unknown continents and their resources during the early 16^th century led to fierce competition for political power and economic riches – for Empire! – in the late 16^th and 17^th centuries. In France and Germany one civil war followed another, until those two countries were splintered into numerous hostile factions. As if these religious and political upheavals weren’t enough for Europe, Western man’s intellectual attitudes were also challenged and upset. Renaissance man had believed the earth to be the center of the universe. But Copernicus, in 1543, published a book setting man’s globe on a whirling path around the sun. In the 15^th century, Renaissance man had discovered an orderly world. His art reflects this. Renaissance painters used architectural backgrounds to create a feeling of geometric clarity and order. A Renaissance poet said, “God has formed the world in a goodly pattern.” In contrast, the men of the 16^th century saw their world in violent motion. Baroque art expresses this feeling for the dynamic and the dramatic.

The poet John Donne, commenting on the spirit of the Baroque era, wrote, “And new philosophy calls all in doubt… ‘Tis all in pieces, … all coherence gone…” Clarity gave way to mystery and vagueness. The deep shadows in Baroque paintings reflect a new awareness of the unknown, the mysterious. This use of dramatic contrasts of light and shadow is called chiaroscuro. We can see it in the following examples. In this study of a philosopher, the painter Rembrandt achieves a theatrical effect by placing his figure in the window-lighted corner of a dark room. Michelangelo Buonarroti dominated the arts of the 16^th century. He stood with one foot in the Renaissance and the other in the Baroque. His early works were filled with subjects from classical Greek and Roman mythology, or, like this early Pieta, were composed in an orderly, balanced form, like a triangle. But Michelangelo’s later works incorporate a new vision of the world: twisting, falling forms and rough, exciting surfaces. Michelangelo’s early Pieta is on the left. A later carving of the same subject is on the right. Here is a detail from the early work. This one is from the later, Baroque example. Let us make a more extreme comparison. On the left is Michelangelo’s David – typical of the High Renaissance. On the right is the same subject – David – by the Baroque sculptor Bernini. But look at the difference! Bernini’s David unleashes anger and violence.

Ben Johnson, a 17^th-century dramatist, said: “That which is tortured is counted the more exquisite; nothing is fashionable ‘til it is deformed.”

Michelangelo carefully arranged the Sistine ceiling into a geometry of frames: squares and triangles punctuated by prophets and classical figures. It is in the spirit of the Renaissance. However, when he completed the Last Judgment 30 years later, Michelangelo had filled the wall with a vast and terrible panorama. Everywhere, we see bewilderment, chaos, despair.

Rome, the city of Michelangelo’s triumphs, was the birthplace of the Baroque. Painters, sculptors, and architects from all over the world flocked there to study the monuments of the city and to make their own special contributions to the sacred beauty of Rome. There was Bernini, the sculptor, and Borromini, the disturbed and imaginative architect. Caravaggio came from northern Italy, and Peter Paul Rubens journeyed from Flanders. There was Nicolas Poussin, a Frenchman and El Greco, the Greek on his way to Spain. The works of these artists made Rome into an inspiring and magnificent center for the new Catholic church – embarked on its campaign of Counter-Reformation.

 

Part II

The Catholic church turned to art – Baroque art – as propaganda to counter the Reformation, to bring back its confused children. It appealed to the emotions and made its believers feel the power of God. The painting called Christ Driving the Money-changers from the Temple shows an angry, militant Christ driving out the corruption from His church. The message of the painting was not lost on 16^th-century Catholics. The mother-church, St. Peter’s in Rome, was Michelangelo’s greatest triumph. The church was built during the High Renaissance, according to Michelangelo’s plans and was extended during the 16^th century. It was completed with the embracing arms of the great colonnade by Bernini. Inside St. Peter’s, the twisting spiral columns of the canopy – called a baldachino – loom over the altar. The harmonious grandeur of the mother-church was to have its influence throughout Europe. New churches were built everywhere – with exciting, rippling facades, with brilliantly decorated interiors, like stage sets and with dazzling domes. Ceiling painters created breathtaking illusions of the church roof blasted away to reveal miraculous views of Paradise. The Counter-Reformation painters of the Baroque aimed at the emotions, not the intellect. The eyes of their saints are filled with mystical visions and religious ecstasy. From their brushes flowed heart-rending images of martyrdom and suffering. How calm and reasonable is this Renaissance crucifixion when compared with these, by artists of the Baroque era. The Baroque style had blossomed in the Rome of Michelangelo. From there it spread to Venice, Queen of the Adriatic Sea. Let us visit 16^th-century Venice, a colorful and exciting city, floating on a sparkling sea, its streets a shimmer of canals. Tintoretto, who painted this Annunciation, and the other Venetian painters of the 16^th century break with the order and precision of the Renaissance.

Venetian painting in the 16^th century is alive with rich brushwork and textures of paint. Let us make some comparisons. This Madonna by the Venetian painter Giorgione is in the Renaissance style. Like Michelangelo’s early Pieta, its composition is based on a balanced triangle. A later work by Giorgione has two figures mysteriously set back into a dark and stormy landscape. The subject of the painting is unclear. Renaissance paintings, on the other hand, always had clear and meaningful subjects. But for the later Giorgione, the mysterious and dramatic landscape is enough. In Titian’s Presentation of the Virgin Mary at the Temple, the subject is in the foreground and moves from left to right, parallel to the picture plane. A generation later, Tintoretto painted the same subject – The Presentation – in a circular, swirling composition. Where is the principal subject – the young Virgin? She is not in the spotlighted foreground – but halfway up the winding stairs … a dramatic device, which builds anticipation and creates tension in the viewer.

The Last Supper by Leonardo da Vinci is balanced and symmetrical. Although the painting is nearly ruined today, one can still see that all lines converge and focus on the head of Christ. The composition is typical of the High Renaissance. Tintoretto of Venice also painted a Last Supper, but now the sweeping diagonal lines lend an air of excitement. The scene is dark, while a theatrical luminescence spotlights the apostles and a radiant Christ. The painting is in the new 16^th century spirit. The artistic creations of Venice and Rome dazzled the world. The Baroque style spread to Counter-Reformation Spain and northward in the 17^th century to the aristocratic court at Versailles and to the prosperous, bourgeois Netherlands, where patrons of the arts were Protestants and seafarers.

 

Part III

The Baroque in Spain. The Spanish Kings saw themselves as defenders of the new Church – militant and triumphant over the reformers. King Philip II had floated the mightiest of fleets – the Armada – hoping to conquer the Protestant protectress – Elizabeth I of England. The palace of the kings – the Escorial – was their home, but it was also a church and monastery and a symbol of the power and glory of Spain. The life of the Spanish court is revealed to us by its official painter, Diego Velasquez.

In The Maids of Honor, Velasquez manipulates light and shadow – revealing, in this way, a variety of textures and surfaces.

The mystic zeal of Spanish Catholicism inspired paintings of dying saints and of saints experiencing visions. This religious passion characterizes El Greco’s figures who seem to be aflame with religious ecstasy. A new religious order, the Society of Jesus, was enthusiastically supported by the Spanish kings. The Jesuits were dedicated teachers and answered the Church’s need for committed men of action. Spain and her kings were loyal disciples of the Church. In Spain, the Catholic reforms had their proving ground – for the benefit of all 16^th century Catholics.

The Baroque in Holland. The religious upheavals of the 16^th century triggered the political and social upheavals of the 17^th century. The Protestant Dutch threw off the yoke of the Spanish, Catholic king. The Dutch were proud of their hard-won freedom and of their tiny, flat country. They delighted in its rich land, its surrounding ocean, and its vast skies. The Dutch became merchants and shipbuilders to the world and amassed fortunes through hard work and thrift. These new international businessmen wanted paintings to adorn their homes. They ordered paintings of themselves and of their homes and families in sunny rooms, busy at household chores. They were proud of their tables, laden with food and with elaborate arrangements of flowers.

The Baroque in France. In France, the new King, Louis XIV, had his own answer to the political chaos which had plagued his country. He devised a plan to glorify his person and his position, thus gathering all the power in France to himself. His schemes for power included the building of a vast palace at Versailles, with acres of carefully planned gardens. Louis developed the ritual revolving around his personal life. He exaggerated the importance of his every act, thus drawing the attention of the French nobles away from the fact that he was usurping all their power. Versailles and Paris became centers of artistic life. The grand palaces of France, with their enormous rooms and sumptuous furniture, their miles of garden walks, and elaborate fountains, provided a glorious setting for the new monarch and his court.

What, then, are the elements of the Baroque style? It is not an art of lines and edges, like Renaissance art, but an art of color, light, and shadow. The subject is not parallel to the picture plane and in the center foreground, as in this Renaissance Flight into Egypt, but is tucked away in one corner, like this Baroque Flight into Egypt. The space thrusts out one side and recedes deeply into the other. Mystery and drama set the mood.

This Renaissance portrait seems dignified and serene when compared to this gay, action-filled portrait by a Baroque painter. The setting is a tavern, where a man and his sweetheart are laughing at a joke. The light catches the flush of their faces and creates a feeling of movement.

Baroque art is an art of motion, not repose, of restless imbalances, of violence and spectacle. Baroque art is sensuous and sensual. Baroque art is aristocratic, but it is also the art of the common man. It is the art of the Catholic church and of the new Protestant churches. While the Renaissance restored an emphasis on the physical world, it was the 16^th century, which saw the full flowering of the arts of the senses. Baroque art reflects the love of feasts, the love of music, and the enjoyment of the pleasures of the flesh. At the height of the Baroque, the philosopher Leibnitz described the services of the Catholic church and captured, thereby, the entire spirit of the Baroque: “…the sweet concord of voices, …the blaze of lights, …the fragrant perfumes, …the rich vestments, …the sacred vessels … adorned with precious stones, …the statues and pictures which awaken holy thoughts, …the glorious creations of architectural genius … with their effects of height and distance, …the music of the bells”.