2680. At that time and during that period of art history artists considered themselves fortunate if the church provided the funds and the opportunity for them to spend their careers covering great vaults of space and huge walls of gigantic church structures with paintings of all sorts, as long as the paintings they created were all grounded in biblical imagery and history.
2682. On the contrary, the churches were full of odd, distorted, stretched out curving walls, vaults cut off by truncated curving triangles, shapes next to windows whose tops tapered to slender points. How was one to put some humble image of a saint getting tortured as he is being flayed to death into some niche above a door that is triangular on the right and elliptical on the left, and split by a flat pilaster in the middle?
2683. From the earliest times of church decoration, the device was hit upon to execute the paintings in a standard rectangle, either vertical or horizontal, or a simple square if possible, and then to fill up all of the remaining space, no matter how varied, with multicolor geometric borders one after another.