The change of style did not take place immediately, for most of the buildings erected by Constantine were in the traditional Roman style, but the arts were gradually perfected until they culminated in the building of S. Sophia by Anthemius of Tralles, and Isidorus of Miletus, during the reign of Justinian, A.D. 538. This building is remarkable for its splendid dome, supported by semi-domes and pendentives on a square plan, its embellishment with mosaics of glorious colours, and the great inventiveness and symbolism of the detail. The traditional sharp acanthus foliage of the Greeks was united with the emblems of Christianity such as the circle, the cross, the vine, and the dove; the peacock also is frequently seen. Figure sculpture was rarely used, but groups of figures were used in great profusion in the gold ground mosaics that covered the upper part of the walls and the vaults and domes of the magnificent Byzantine buildings. The churches of Ravenna in Italy, have somewhat similar characteristics; S. Vitale, the basilica churches of S. Apollinare Nuovo, A.D. 493-525, S. Apollinare in Classe, A.D. 538-44, together with the Baptisteries are rich in mosaics and sculptured capitals of the 6th and 7th centuries. In the cathedrals of Torcello, A.D. 670, and Murano and the beautiful St. Mark’s at Venice, marbles and mosaics were used in great profusion. The two sketch plans here given are typical of Byzantine planning in which the symbolism of the circle and cross are used as constructive features. This symbolism is a marked feature in Byzantine ornament; interlacing circles and crosses mingle with the acanthus or the vine, and are cut with a peculiar V-shaped section. The circular drill is largely used at the sinking of the leaves, and but little of the background is visible in the sculptured ornament of this period.
SCANDINAVIAN ORNAMENT. [Plate 12.]
SCANDINAVIAN
ORNAMENT.
The beautiful bronze and silver jewellery, and implements of war of the early Viking period, found in Norway, Sweden and Denmark, display no trace of plant forms in their ornamentation, the latter consisting wholly of interlacing animal forms, chiefly the dragon. The viking ship found at Sandifiord in 1880, although destitute of ornament, shows traces of the “Bronze Dragon Prow,” referred to in the early Scandinavian Sagas. At the commencement of the 12th century, plant forms are found mingled with the dragons, and figure sculpture became important in treating of the myths of the gods; Frey, Woden, Thor and Fyr, of the pagan period, being influenced by the newer cult in religion. This is shown by the Sigurd Overlap.
Hreiômar had three sons, Otter, Fafni and Regan. Otter was killed one day by Loki, one of the three Scandinavian gods—Loki, Hœni and Woden—these being seized by Hreiômar, who would only release them when the skin of Otter should be covered with gold. Thereupon Loki seized the dwarf Andwan, who was made to give up his treasure of gold, and a ring of magical properties, carrying with it a curse, that the treasure should be the death of those who held it. Loki then returned and covered the skin of Otter with the gold (fig. 3), after which the gods were set at liberty. Then Hreiômar was slain by his sons for the treasure. Fafni, after seizing the latter, took the form of a dragon, and lay guarding the plunder at Gnita Heath. Regan, his brother, in order to obtain the treasure, prompted Sigurd, his foster son, to slay the dragon. Sigurd, in testing his sword, broke it in twain, thereupon Regan made him a magic sword, with which he lay in the trail of the dragon, and pierced it through (figs. 1-4). Then Regan took out the heart of the dragon, which Sigurd cut into slices and toasted while Regan slept. Sigurd, burning his fingers, places them in his mouth, and tasted the blood of Fafni, the dragon (fig. 1), and, lo! he heard the voice of birds saying that Regan was plotting to kill him. Then Sigurd killed Regan, eat the heart of Fafni, placed the treasure on the back of the noble horse Grani, and departed, only to be slain for the gold by Gunnar, who for this crime was cast into the pit of serpents (fig. 1).[A]
This myth explains much of the Scandinavian ornament, for in figs. 1 and 2 the story is told in a series of incidents remarkable for the fertility of invention and dracontine ornamentation. Halton Cross, in Lancashire, and a slab at Kirk Andreas, Isle of Man, illustrate the same subjects, dating from the 11th century. In later times the dragon becomes more pronounced in character, until in the 14th century it fills the whole portal with the beautiful interlacing ornament (fig. 6).
CELTIC ORNAMENT. [Plate 13.]