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Soon afterwards Vischer began to preach historical painting as a new gospel. History, he says, is the revelation of God. His Being is revealed in it as much as in the sacred writings of religion. Historical painting is therefore the completion and full exemplification of those principles which, five centuries back, in Giotto, led to the movement of the new Christian painting. It is called forth by the development of all forms of life and knowledge, and is the last and highest step which sacred painting is able to reach: it is the final completion of sacred painting itself.
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Who represents the Holy Ghost with more dignity? He who paints Him as a dove upon a sheaf of sunbeams, or he who places before me a great and lofty man, a Luther or a Huss in the flame of divine enthusiasm?
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We stand, says Hotho in his history of German and Netherlandish painting,
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The Hussite Sermon he soon afterwards began the sequence of pictures which had as their theme the battle between Church and State, the struggle of the Popes with the Emperors, the conflict between binding tradition and free personal conviction--a sequence to be viewed in connection with the opposition between authority and freedom which had actually arisen through Strauss' _Life of Jesus_.
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Huss before the Council,
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Huss on his Way to the Stake,
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The Burning of the Papal Ban,