But as new emperors came to the throne who had not in them that
old leaven of paganism which to the last influenced Constantine,
and as theology obtained a firmer hold, severity against magic
increased. Toleration of it, even in its milder forms, was more
and more denied. Black magic and white were classed together.
This severity went on increasing and threatened the simplest
efforts in physics and chemistry; even the science of
mathematics was looked upon with dread. By the twelfth and
thirteenth centuries, the older theology having arrived at the
climax of its development in Europe, terror of magic and
witchcraft took complete possession of the popular mind. In
sculpture, painting, and literature it appeared in forms ever
more and more striking. The lives of saints were filled with it.
The cathedral sculpture embodied it in every part. The storied
windows made it all the more impressive. The missal painters
wrought it not only into prayer books, but, despite the fact
that hardly a trace of the belief appears in the Psalms, they
illustrated it in the great illuminated psalters from which the
noblest part of the service was sung before the high altar.
Pages:
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692