In those times art was closely connected with industry, which was entirely manual and individual. They learned from each other, they improved and declined together, in short they were inseparable. Shall we call the painters that decorated the architecturally fantastic and airy walls of Pompeii in Alexandrian or perhaps Syrian taste artisans or artists? And how shall we classify the goldsmiths, Alexandrians also, who carved those delicate leaves, those picturesque animals, those harmoniously elegant or cunningly animated groups that cover the phials and goblets of Bosco Reale? And descending from the productions of the industrial arts to those of industry itself, one might also trace the growing influence of the Orient; one might show how the action of the great manufacturing centers of the East gradually transformed the material civilization of Europe; one might point out how the introduction into Gaul[[12]] of exotic patterns and processes changed the old native industry and gave its products a perfection and a popularity hitherto unknown. But I dislike to insist overmuch on a point apparently so foreign to the one now before us. It was important however to mention this subject at the beginning because in whatever direction scholars of
to-day pursue their investigations they always notice Asiatic culture slowly supplanting that of Italy. The latter developed only by absorbing elements taken from the inexhaustible reserves of the "old civilizations" of which we spoke at the beginning. The Hellenized Orient imposed itself everywhere through its men and its works; it subjected its Latin conquerors to its ascendancy in the same manner as it dominated its Arabian conquerors later when it became the civilizer of Islam. But in no field of thought was its influence, under the empire, so decisive as in religion, because it finally brought about the complete destruction of the Greco-Latin paganism.[[13]]
The invasion of the barbarian religions was so open, so noisy and so triumphant that it could not remain unnoticed. It attracted the anxious or sympathetic attention of the ancient authors, and since the Renaissance modern scholars have frequently taken interest in it. Possibly however they did not sufficiently understand that this religious evolution was not an isolated and extraordinary phenomenon, but that it accompanied and aided a more general evolution, just as that aided it in turn. The transformation of beliefs was intimately connected with the establishment of the monarchy by divine right, the development of art, the prevailing philosophic tendencies, in fact with all the manifestations of thought, sentiment and taste.
We shall attempt to sketch this religious movement with its numerous and far-reaching ramifications. First we shall try to show what caused the diffusion of the Oriental religions. In the second place we shall examine those in particular that originated in Asia Minor, Egypt, Syria and Persia, and we shall endeavor to
distinguish their individual characteristics and estimate their value. We shall see, finally, how the ancient idolatry was transformed and what form it assumed in its last struggle against Christianity, whose victory was furthered by Asiatic mysteries, although they opposed its doctrine.
But before broaching this subject a preliminary question must be answered. Is the study which we have just outlined possible? What items will be of assistance to us in this undertaking? From what sources are we to derive our knowledge of the Oriental religions in the Roman empire?
It must be admitted that the sources are inadequate and have not as yet been sufficiently investigated.
Perhaps no loss caused by the general wreck of ancient literature has been more disastrous than that of the liturgic books of paganism. A few mystic formulas quoted incidentally by pagan or Christian authors and a few fragments of hymns in honor of the gods[[14]] are practically all that escaped destruction. In order to obtain an idea of what those lost rituals may have been one must turn to their imitations contained in the chorus of tragedies, and to the parodies comic authors sometimes made; or look up in books of magic the plagiarisms that writers of incantations may have committed.[[15]] But all this gives us only a dim reflection of the religious ceremonies. Shut out from the sanctuary like profane outsiders, we hear only the indistinct echo of the sacred songs and not even in imagination can we attend the celebration of the mysteries.
We do not know how the ancients prayed, we cannot penetrate into the intimacy of their religious life,