Those who have any doubts as to the place of Gothic art itself in art history and who need an authority always to bolster up the opinion that they may hold, will find ample support in the enthusiastic opinion of an authority whom we have quoted already. The most interesting and significant feature of his ardent expression of enthusiasm is his comparison of Romanesque with Gothic art in this respect. The amount of ground covered from one artistic mode to the other is greater than any other advance in art that has ever been made. After all, the real value of the work of the period must be judged, rather by the amount of progress that has {106} been made than by the stage of advance actually reached, since it is development rather than accomplishment that counts in the evolution of the race. On the other hand it will be found that Reinach's opinion of the actual attainments of Gothic art are far beyond anything that used to be thought on the subject a half century ago, and much higher than any but a few of the modern art critics hold in the matter. He says: "In contrast to this Romanesque art, as yet in bondage to convention, ignorant or disdainful of nature, the mature Gothic art of the Thirteenth Century appeared as a brilliant revival or realism. The great sculptors who adorned the Cathedrals of Paris, Amiens, Rheims, and Chartres with their works, were realists in the highest sense of the word. They sought in Nature not only their knowledge of human forms, and of the draperies that cover them, but also that of the principles of decoration. Save in the gargoyles of cathedrals and in certain minor sculptures, we no longer find in the Thirteenth Century those unreal figures of animals, nor those ornaments, complicated as nightmares, which load the capitals of Romanesque churches; the flora of the country, studied with loving attention, is the sole, or almost the sole source from which decorators take their motives. It is in this charming profusion of flowers and foliage that the genius of Gothic architecture is most freely displayed. One of the most admirable of its creations is the famous Capital of the Vintage in Notre Dame at Rheims, carved about the year 1250. Since the first century of the Roman Empire art had never imitated Nature so perfectly, nor has it ever since done so with a like grace and sentiment."