Textus for the High Altar.These sumptuous Evangeliaria, or Textus as they were often called, soon came to be something more than merely a magnificent book. They developed into one of the most important pieces of furniture belonging to the High Altar in all important Cathedral and Abbey churches[[39]]. Throughout the whole mediaeval period every rich church possessed one of these magnificently written Textus or Books of the Gospels bound in costly covers of gold or silver thickly studded with jewels. This Textus was placed on the High Altar before the celebration of Mass, during which it was used for the reading of the Gospel.
| Textus used as a Pax. |
Textus used as a Pax.The jewel-studded covers had on one side a representation of Christ's crucifixion, executed in enamel or else in gold relief, and the book was used to serve the purpose of a Pax, being handed round among the ministers of the Altar for the ceremonial kiss of peace, which in primitive times had been exchanged among the members of the congregation themselves. One of the most magnificent examples of these Textus is the one now in the possession of Lord Ashburnham, the covers of which are among the most important and beautiful examples of the early English goldsmith's and jeweller's art which now exist[[40]].
| The Textus at Durham. |
The Textus at Durham.An interesting description of the Textus which, till the Reformation, belonged to the High Altar of Durham Cathedral, is given in the Rites and Monuments of Durham written in 1593 by a survivor from the suppressed and plundered Abbey[[41]], who in his old age wrote down his recollections of the former glories of the Church. He writes, "the Gospeller[[42]] did carrye a marvelous Faire Booke, which had the Epistles and Gospels in it, and did lay it on the Altar, the which booke had on the outside of the coveringe the picture of our Saviour Christ, all of silver, of goldsmith's worke, all parcell gilt, verye fine to behould; which booke did serve for the Pax in the Masse."
These Textus were not unfrequently written wholly in gold on purple stained vellum, not only during the earliest and best period of Byzantine art but also occasionally by the illuminators of the age of Charles the Great.
| Weak drawing of the figure. |
Weak drawing of the figure.Returning now to the general question of the style of Byzantine art, it should be observed that, though little knowledge of the human form is shown by the miniaturists, yet they were able to produce highly dignified compositions, very strong in decorative effect. Study of the nude form was strictly prohibited by the Church; and the beauty of the human figure was regarded as a snare and a danger to minds which should be fixed upon the imaginary glories of another world. What grace and dignity there is in Byzantine figure painting depends chiefly on the skilful treatment of the drapery with simple folds modelled in gracefully curving lines.
| Livid flesh colour. |
Livid flesh colour.The utmost splendour of gold and colour is lavished on this drapery, and on the backgrounds, border-frames and other accessories, while the colouring of the flesh, in faces, hands and feet, is commonly unpleasant; with, in many cases, an excessive use of green in the shadows, which gives an unhealthy look to the faces. This copious use of green in flesh tints is especially apparent in the later Byzantine paintings, and again in the Italian imitations of Byzantine art. Even paintings by Cimabue and some of his followers, in the second half of the thirteenth century, are disfigured by the flesh in shadow being largely painted with terra verde[[43]].