Even in the West the case was nearly the same, so long as the practice of painting remained almost exclusively confined to artists coming from Constantinople. Thus, in some celebrated manuscripts of the eighth and ninth centuries we find compositions that give a very exact representation of the state of the art in these remote times, though the paintings themselves have been destroyed by the Iconoclasts. In fact, during ten centuries it seemed that the Western races resisted any expression of artistic individuality or invention. Throughout this long period we find Greek painters the supreme arbiters of taste and knowledge in the countries of Western Europe, forcing upon them their own barren style, and teaching them their contracted perceptions. Art among them seemed always to be but a mere instinct. Constant immigrations took place which were continually leading them to every point in Western Europe, but none of them ever brought anything novel in art beyond what their predecessors had already introduced. If they took root in a new country, the son repeated the works of his father. The pupil took no means to enlarge his thoughts; he adopted as his model and his ideal nothing but the work of his master, and the poor form of tradition was continued without enthusiasm and without progress (Fig. 247). Genius is altogether wanting, or if its sacred spark sprung forth from heaven, it was soon extinguished when it reached the earth for want of a soul which could receive it, and be kindled by its fire. The Greek masters doubtless affected some pride in the grandeur of their native name, but they were none the less living proofs that the sources from which flowed the inspiration of a Zeuxis, a Protogenes, or an Apelles, had since those far-distant days been long dried up. The East had for ever terminated its ancient character of artistic creation, and the most it seemed destined to achieve during the Middle Ages was to preserve the germ which the West was to bring again into active life. Italy, and more particularly Tuscany, may lay claim to the honour of [Illustration: Fig. 247.--“Baptism of King Clovis.” (Fragment of a Painting on Canvas at Rheims. Fifteenth Century.)] having witnessed, about the end of the thirteenth and the beginning of the fourteenth century, the dawn of the great revival of artistic light. The names of Giunta of Pisa, Guido of Siena, and Duccio, had, however, already commenced the glorious list of Italian artists, who were the first to endeavour to modify the immutable Greek manner. Their attempts, no doubt, seem but insignificant, looking at the immense progress subsequently accomplished; but, however slight it may appear to be, the first step made beyond the beaten path which has been trodden for centuries is often evidence of the most courageous daring.