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Rh influence of these innovations would not have been wholly lost even in the general decline of the arts at the break-up of the Roman Empire of the West. In any case, the influence would have survived in Byzantine art, where there was no such cataclysm. Yet we fail to see in the numerous pictorial miniatures from the 5th century onwards, or in the mosaics or the wall-paintings of the same epoch, any more effective grasp of the facts of the third dimension of space than was possessed by the pre-classical Egyptian.

All through the middle ages, therefore, the facts concerning painting with which we are here concerned remain the same, and the art appears almost exclusively concerned with the few selected objects and the single plane. The representation is at most of form and not of space.

§ 10. Early Christian and Early Medieval Painting.—The extant remains of early Christian painting may be considered under three heads: (1) the wall-paintings in the catacombs; (2) the pictorial decorations in books; (3) the mosaic pictures on the walls of the churches, (1) The first are in themselves of little importance, but are of historical interest as a link of connexion between the wall-painting of classical times and the more distinctively Christian forms of the art. They are slightly executed and on a small scale, the earliest, as being more near to classical models, are artistically the best. (2) That form of painting devoted to the decoration and illustration of books belongs more to the art of ornament than to painting proper (see and ). (3) Early Christian mosaics are noble monuments of the graphic art, and are its best representatives during the centuries from the 5th to the 8th. A dignified simplicity in design suits their large scale and architectural setting, and the aim of the artist is to present in forms of epic grandeur the personages of the sacred narratives. They are shown as in repose or engaged in some typical but simple action; the backgrounds being as a rule plain blue or gold and the accessories of the simplest possible description. The finest Christian mosaic is also the earliest. It is in the apse of S. Pudentiana, Rome, and displays Christ enthroned as teacher with the Apostles seated on each side of Him. It may date from the 4th century. Next to this the best examples are at Ravenna, in the tomb of Galla Placidia, the Baptistery, S. Apollinare Nuovo and S. Vitale, dating from the 5th and 6th centuries. The picture in the baptistery of the " Baptism of Christ " is the most artistic piece of composition and pictorial effect, and next to this comes the “Good Shepherd” of the tomb of Galla Placidia. The finest single figures are those of the white-robed saints between the windows of the nave of S. Apollinare Nuovo, and the most popular representations are the two processions of male and female saints lower down on the same walls. The famous mosaics in S. Vitale depicting Justinian and Theodora with courtiers in attendance, though historically interesting, are designed in a wooden fashion, and later mosaics at Palermo, Venice, Rome and other places are as a rule rather decorative than pictorial. Where the costly material of glass mosaic was not available, the churches of this period would show mural paintings on plaster of much the same design and artistic character, though comparatively ineffective.

In monumental painting the interval between the early Christian mosaics and mural pictures and the revival of the 13th century is filled by a series of wall and ceiling paintings of Carolingian, Romanesque and early Gothic date, in Italy, Germany and England. The earliest of which account need be taken are those in the recently excavated church of S. Maria Antiqua by the Forum at Rome (Rushworth, in Papers of the British School at Rome, vol. i., London, 1902), where there is a complete and, on the whole, well-preserved series consisting for the most part in single figures and simply composed scenes. Most of the work can be dated to the time of Pope John VII. at the beginning of the 8th century. Its style shows a mixture of Byzantine motives with elements that are native to Rome. It must be remembered that at the time Rome was strongly under Byzantine influence. Passing over some more fragmentary specimens, we may refer next to several series of mural

paintings in and near the island of Reichenau at the western end of the lake of Constance, where a school of painting flourished in the latter part of the 10th century. The work here is quite as good as anything Italy has to show, and represents a native German style, based on early Christian tradition, with very little dependence on Byzantine models. The most interesting piece is the “Last Judgment” in the church of St George at Oberzell on Reichenau, where, in a very simple but dignified and effective form, we find the earliest existing representation of this standard theme of later medieval monumental art (F. X. Kraus, Wandgemälde der St Georgskirche zu Oberzell auf der Insel Reichenau, Freiburg-i.-Br., 1884).

About a hundred years later, in the latter part of the nth century, a mural painting of the same theme was executed in the church of S. Angelo in Formis near Capua in southern Italy, the style of which shows a mixture of Latin and Byzantine elements (F. X. Kraus, Die Wandgemälde von S. Angelo in Formis, Berlin, 1893).

To the middle of the 12th century belongs one of the most complete and interesting cycles of medieval wall-decoration, the display of a series of figures and scenes illustrating the eleventh chapter of Hebrews, in the chapter-house of the now secularized monastery of Brauweiler, near Cologne, in the Rhineland. Here the pictorial effect is simple, but the decorative treatment in regard to the filling of the spaces and the lines of composition is excellent. The design is Romanesque in its severity (E. Aus’m Weerth, Wandmalereien des Mittelalters in den Rheinlanden, Leipzig 1879). Romanesque also, but exhibiting an increase in animation and expressiveness, is the painting of the flat ceiling of the nave of the fine church of St Michael at Hildesheim. In the general decorative effect, the distribution of the subjects in the spaces, the blending of figures and ornament, the work, the main subject of which is the Tree of Jesse, is a masterpiece. Two nude figures of Adam and Eve are for the period remarkable productions. The date is the close of the 12th century.

Succeeding examples show unmistakable signs of the approach of the Gothic period. In the wall-paintings of the nuns' choir of the church of Gurk in Carinthia, a certain grace and tenderness begin to make themselves felt, and the same impression we gain from the extensive cycle in the choir of the cathedral of Brunswick, from the first decades of the 13th century. The picture of Herod's birthday feast is typical of the style of German painting of the time; there is nothing about it in the least rude or tentative. It is neither childish nor barbarous, but very accomplished in a conventional style that is exactly suited from the decorative point of view to a mural painting. The story is told effectively but in quaint fashion, and several incidents of it are shown in the same composition. There is no attempt to represent the third dimension of space, nor to give the perspective setting of the scene, but the drawing is easy and true and expressive. The studied grace in the bend of certain figures and the lively expressions of the faces are traits which prefigure Gothic art (see fig. 11, Plate III.).

Distinctively Gothic in their feeling were the wall-paintings in the chapel at Ramersdorf, opposite Bonn, dating from the beginning of the 14th century. They are only preserved in copies, but these enable us to see with what grace and feeling the slender figures were designed, how near to Angelico's came the tender angels making music where the virgin is receiving her celestial crown (E. Aus’m Weerth, loc. cit.). From the end of the 14th century. Castle Runkelstein, near Botzen in Tirol, has preserved an extensive cycle of secular wall-paintings, much repainted, but of unique interest as giving an idea how a medieval residence of the kind might be adorned. The style is of native growth and no influence from south of the Alps is to be discerned (Janitschek, Geschichte der deutschen Malerei, Berlin, 1890, 198 seq.). Technically speaking, all these mural paintings consist in little more than outlines filled in with flat tints, neither modelling of the forms nor perspective effect in the setting is attempted, but the work so far as it goes is wholly satisfactory. There is no coarseness of execution nor anything in the forms.