Archeology must endeavor to fill the enormous blanks left by the written tradition; the monuments, especially the artistic ones, have not as yet been collected with sufficient care nor interpreted with sufficient method. By studying the arrangement of the temples and the religious furniture that adorned them, one can at the same time determine part of the liturgic ceremonies which took place there. On the other hand, the critical interpretation of statuary relics enables us to reconstruct with sufficient correctness certain sacred legends and to recover part of the theology of the mysteries. Unlike Greek art, the religious art at the close of paganism did not seek, or sought only incidentally, to elevate the soul through the contemplation of an ideal of divine beauty. True to the traditions of the ancient Orient, it tried to edify and to instruct at the same time.[22] It told the history of the gods and the world in cycles of pictures, or it expressed through symbols the subtle conceptions of theology and even certain doctrines of profane science, like the struggle of the four elements; just as during the Middle Ages, so the artist of the empire interpreted the ideas of the clergy, teaching the believers by means of pictures and rendering the highest religious conceptions intelligible to the humblest minds. But to read this mystic book whose pages are scattered in our museums we must laboriously look for its key, and we cannot take for a guide and exegetist some Vincent de Beauvais of Diocletian's period[23] as when looking over the marvelous {18} sculptured encyclopedias in our Gothic cathedrals. Our position is frequently similar to that of a scholar of the year 4000 who would undertake to write the history of the Passion from the pictures of the fourteen stations, or to study the veneration of the saints from the statues found in the ruins of our churches.