History of art . zed. And aboutthe end of the same century Theotocopuli flees his 230 MEDIEVAL ART Greek island, leaving behind him nothing but theletter of Byzantium and bearing off its spirit alone, inthe sumptuous envelopment of Venetian painting.He sublimated the opulence of Venice in the flame of aheart that is unique in history, that was capable, by itssole action, of making fertile the stormy and solitarysoul of Spain. It was too late. In reality, when Mo-hammed II planted the standard of the Prophet on theGolden Horn and installed Islam in Saint Sophia, thecrisis was ending and no even
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History of art . zed. And aboutthe end of the same century Theotocopuli flees his 230 MEDIEVAL ART Greek island, leaving behind him nothing but theletter of Byzantium and bearing off its spirit alone, inthe sumptuous envelopment of Venetian painting.He sublimated the opulence of Venice in the flame of aheart that is unique in history, that was capable, by itssole action, of making fertile the stormy and solitarysoul of Spain. It was too late. In reality, when Mo-hammed II planted the standard of the Prophet on theGolden Horn and installed Islam in Saint Sophia, thecrisis was ending and no event could have modifiedthe issue. In Palestine, in Egypt, in Sicily, in Tunis, in Spain, in France—everywhere about the Mediter-ranean, the two mystic currents born of the old Semiticideal had been clashing for three hundred years, repulsing each other at some points, mingling at others, and revealing to each other, despite themselves andunknown to themselves, the resemblance of all menand the unity of their desire.. The Desert Chapter VI. ISLAM