Reinach defends Gothic Art from another and more serious objection which is constantly urged against it by those who know only certain examples of it, but have not had the advantage of the wide study of the whole field of artistic endeavor in the Thirteenth Century, which this distinguished member of the Institute of France has succeeded in obtaining. It is curious what unfounded opinions have come to be prevalent in art circles because, only too often, writers with regard to the Cathedrals have spent their time mainly in the large cities, or along the principal arteries of travel, and have not realized {107} that some of the smaller towns contained work better fitted to illustrate Gothic Art principles than those on which they depended for their information. If only particular phases of the art of any one time, no matter how important, were to be considered in forming a judgment of it, that judgment would almost surely be unfavorable in many ways because of the lack of completeness of view. This is what has happened unfortunately with regard to Gothic art, but a better spirit is coming in this matter, with the more careful study of periods of art and the return of reverence for the grand old Middle Ages. {opp107} [Illustration] CATHEDRAL (RHEIMS) Reinach says: "There are certain prejudices against this admirable, though incomplete, art which it is difficult to combat. It is often said, for instance, that all Gothic figures are stiff and emaciated. To convince ourselves of the contrary we need only study the marvelous sculpture of the meeting between Abraham and Melchisedech, in Rheims Cathedral; or again in the same Cathedral, the Visitation, the seated Prophet, and the standing Angel, or the exquisite Magdalen of Bordeaux Cathedral. What can we see in these that is stiff, sickly, and puny? The art that has most affinity with perfect Gothic is neither Romanesque nor Byzantine, but the Greek art of from 500 to 450 B. C. By a strange coincidence, the Gothic artists even reproduce the somewhat stereotyped smile of their forerunners." Usually it is said that the Renaissance brought the supreme qualities of Greek plastic art back to life, but here is a thoroughly competent critic who finds them exhibited long before the Fifteenth Century, as a manifestation of what the self-sufficient generations of the Renaissance would have called Gothic, meaning thereby, barbarous art.