A History of Art for Beginners and Students: Painting, Sculpture, Architecture. Clara Erskine Clement Waters
which the Greeks had given it, and if, according to our ideas, the later Italian painting is in any sense superior to the Greek, we must at least admit that the study of the works of antiquity which still remained in Italy, excited the great masters of the Renaissance to the splendid achievements which they attained.
CHAPTER II.
MEDIÆVAL PAINTING, FROM THE BEGINNING OF THE CHRISTIAN ERA TO THE RENAISSANCE.
The Middle Ages extend from the latter part of the fifth century to the time of the Renaissance, or about the fifteenth century. The painting of this period has little to attract attention if regarded only from an artistic stand-point, for we may truly say that, comparing it with the Greek art which had preceded it, or with the Italian art which followed it, that of the Middle Ages had no claim to the beautiful. On the other hand, it is full of interest to students, because it has its part in the history of art; therefore I shall give a mere outline of it, so that this link in the chain which unites ancient and modern painting may not be entirely wanting in our book.
Early mediæval painting, down to about a.d. 950, consists principally of paintings in burial-places, mosaics (usually in churches), and of miniatures, or the illustration and illumination of MSS., which were the books of that time, and were almost without exception religious writings. This period is called the Early Period of the Middle Ages, and the pictures are often called the works of Early Christian Art.
About 1050 a revival of intellectual pursuits began in some parts of Europe, and from that time it may be said that the Renaissance, or new birth of art and letters, was in its A B Cs, or very smallest beginnings. The period between 950 and 1250 is often called the Central or Romanesque Period of the Middle Ages, and it was during this time that glass-painting originated; it is one of the most interesting features of art in mediæval times.
From 1250 to 1400 comes the Final or Gothic Period of the Middle Ages, and this has some very interesting features which foretell the coming glory of the great Renaissance.
THE EARLY PERIOD.
The paintings of the catacombs date from the third and fourth centuries after Christ. The catacombs, or burial-places of the early Christians, consist of long, narrow, subterranean passages, cut with regularity, and crossing each other like streets in a city. The graves are in the sides of these passages, and there are some larger rooms or chambers into which the narrow passages run. There are about sixty of the catacombs in and near Rome; they are generally called by the name of some saint who is buried in them. The paintings are in the chambers, of which there are sometimes several quite near each other. The reason for their being in these underground places was that Christians were so persecuted under the Romans, that they were obliged to do secretly all that they did as Christians, so that no attention should be attracted to them.
The principal characteristics of these pictures are a simple majesty and earnestness of effect; perhaps spirituality is the word to use, for by these paintings the early Christians desired to express their belief in the religion of Christ, and especially in the immortality of the soul, which was a very precious doctrine to them. The catacombs of Rome were more numerous and important than those of any other city.
Many of the paintings in the catacombs had a symbolic meaning, beyond the plainer intention which appeared at the first sight of them: you will know what I mean when I say that not only was this picture of Moses striking the rock intended to represent an historical fact in the life of Moses, but the flowing water was also regarded as a type of the blessing of Christian baptism.
The walls of the chambers of the catacombs are laid out in such a manner as to have the effect of decorated apartments, just as was done in the pagan tombs, and sometimes the pictures were a strange union of pagan and Christian devices.
The above cut, from the Catacomb of S. Domitilla, has in the centre the pagan god Orpheus playing his lyre, while in the alternate compartments of the border are the following Christian subjects: 1, David with the Sling; 2, Moses Striking the Rock; 3, Daniel in the Lion’s Den; 4, The Raising of Lazarus. The other small divisions have pictures of sacrificial animals. These two cuts will give you an idea of the catacomb wall-paintings.
The mosaics of the Middle Ages were of a purely ornamental character down to the time of Constantine. Then, when the protection of a Christian emperor enabled the Christians to express themselves without fear, the doctrines of the church and the stories of the life of Christ and the histories of the saints, as well as many other instructive religious subjects, were made in mosaics, and placed in prominent places in churches and basilicas. Mosaics are very durable, and many belonging to the early Christian era still remain.
The mosaics at Ravenna form the most connected series, and are the best preserved of those that still exist. While it is true in a certain sense that Rome was always the art centre of Italy, it is also true that at Ravenna the works of art have not suffered from devastation and restoration as have those of Rome. After the invasion of the Visigoths in A.D. 404, Honorius transferred the imperial court to Ravenna, and that city then became distinguished for its learning and art. The Ravenna mosaics are so numerous that I shall only speak of one series, from which I give an illustration (Fig. 19).
This mosaic is in the church of S. Vitalis, which was built between a.d. 526 and 547. In the dome of the church there is a grand representation of Christ enthroned; below Him are the sacred rivers of Paradise; near Him are two angels and S. Vitalis, to whom the Saviour is presenting a crown; Bishop Ecclesius, the founder of the church, is also represented near by with a model of the church in his hand.
On a lower wall there are two pictures in which the Emperor Justinian and the Empress Theodosia are represented: our cut is from one of these, and shows the emperor and empress in magnificent costumes, each followed by a train of attendants. This emperor never visited Ravenna; but he sent such rich gifts to this church that he and his wife are represented as its donors.
After the time of Justinian (a.d. 527–565) mosaics began to be less artistic, and those of the later time degenerated, as did everything else during the Middle or Dark Ages, and at last all works of art show less and less of the Greek or Classic influence.
When we use the word miniature as an art term, it does not mean simply a small picture as it does in ordinary conversation; it means the pictures executed by the hand of an illuminator or miniator of manuscripts, and he is so called from the minium or cinnabar which he used in making colors.
In the days of antiquity, as I have told you in speaking of Egypt, it was customary to illustrate manuscripts, and during the Middle Ages this art was very extensively practised. Many monks spent their whole lives in illuminating religious books, and in Constantinople and other eastern cities this art reached a high degree of perfection. Some manuscripts have simple borders and colored initial letters only; sometimes but a single color is used, and is generally red, from which comes our word rubric, which means any writing or printing in red ink, and is derived from the Latin