Emotion breaks its way to expression; it feeds itself upon its expression, thereby increasing in resistlessness; it even becomes identical with its expression. Surely it creates the modes of its expression, seeking continually the more facile, the more unimpeded, which is to say, the adequate and perfect form. Typical mediaeval emotion, which was religious, cast itself around the Gospel of Christ and the theology of the Fathers as studied and pondered on in the mediaeval centuries. Seeking fitting forms of expression, which are at once modes of relief and forms of added power, the passionate energy of the mediaeval genius constrained the intellectual faculties to unite with it in the production of these forms. They were to become more personal and original than any mere scholastic restatement of the patristic and antique thought. Yet the perfect form of the emotional expression was not quickly reached. It could not outrun the intelligent appropriation of Latin Christianity. Its media, moreover, as in the case of sculpture, might present retarding difficulties, to be overcome before that means of presentation could be mastered. A sequence may be observed in the evolution of the mediaeval emotional expression of patristic Christianity. One of the first attained was impassioned devotional Latin prose, like that of Peter Damiani or St. Anselm of Canterbury.[14] But prose is a halting means of emotional expression. It is too circumstantial and too slow. Only in the chanted strophe, winged with the power of rhythm, can emotion pour out its unimpeded strength. But before the thought can be fused in verse, it must be plastic, molten indeed. Even then, the finished verse is not produced at once. The perfected mediaeval Latin strophe was a final form of religious emotional expression, which was not attained until the twelfth century.[15] Impassioned prose may be art; the loftier forms of verse are surely art. And art is not spontaneous, but carefully intended; no babbling of a child, but a mutual fitting of form and content, in which efficient unison the artist’s intellect has worked. Such intellectual, such artistic endeavour, was evinced in the long development of mediaeval plastic art. The sculpture and the painted glass, which tell the Christian story in Chartres Cathedral, set forth the patristic and antique matter in forms expressive of the feeling and emotion which had gathered around the scheme of Latin Christianity. They were forms never to be outdone for appropriateness and power. Several centuries not only of spiritual growth, but of mechanical and artistic endeavour, had been needed for their perfecting.