That art of the Middle Ages which Victor Hugo and Viollet-le-Duc have taught us to understand and love was the visible expression of the enthusiasm of a people who were achieving communal liberty. Very far from being the gift of the Church, it was in its beginning an unconscious protest against the hieratic, impassive, esoteric art of the religious orders. We find only laymen in the long list of master-workmen and painters who have left us the innumerable Gothic monuments which stud the soil of Europe. Those artists of genius who, like those of Greece, knew how to speak to the populace without being common, were for the most part humble workmen; they found their inspiration not in the formulas of the masters of monastic art, but in constant communion with the very soul of the nation. Therefore this renascence, in its most profound features, concerns less the archaeology or the architecture than the history of a country. While in the northern countries the people were building their own churches, and finding in their enthusiasm an art which was new, original, complete, in the south, above the official, clerical priesthood of divine right they were greeting and consecrating a new priesthood, that of the saints. The priest of the thirteenth century is the antithesis of the saint, he is almost always his enemy. Separated by the holy unction from the rest of mankind, inspiring awe as the representative of an all-powerful God, able by a few signs to perform unheard-of mysteries, with a word to change bread into flesh and wine into blood, he appeared as a sort of idol which can do all things for or against you and before which you have only to adore and tremble. The saint, on the contrary, was one whose mission was proclaimed by nothing in his apparel, but whose life and words made themselves felt in all hearts and consciences; he was one who, with no cure of souls in the Church, felt himself suddenly impelled to lift up his voice. The child of the people, he knew all their material and moral woes, and their mysterious echo sounded in his own heart. Like the ancient prophet of Israel, he heard an imperious voice saying to him: "Go and speak to the children of my people." "Ah, Lord God, I am but a child, I know not how to speak." "Say not, I am but a child, for thou shalt go to all those to whom I shall send thee. Behold I have set thee to-day as a strong city, a pillar of iron and a wall of brass against the kings of Judah, against its princes and against its priests." These thirteenth-century saints were in fact true prophets. Apostles like St. Paul, not as the result of a canonical consecration, but by the interior order of the Spirit, they were the witnesses of liberty against authority. The Calabrian seer, Gioacchino di Fiore, hailed the new-born revolution; he believed in its success and proclaimed to the wondering world the advent of a new ministry. He was mistaken.