This keeping to the old lines and outward appearance as much as possible was mainly due to a regard for safety during the persecutions, and also to the Christian spirit of adoption and conversion, rather than that of antagonism, which influenced all their early manifestations.
This unchanging character of art was also partly owing to the absolute sterility of the ashes of Roman Imperialism.
It is true that through the Dark Ages individual genius occasionally flashed and left a mark here and there; but such phenomena are so rare, that when they occur we hesitate before we assign them to that age.
The Anglo-Saxon art of illumination shows these inspired moments; I would point to their drawings in the books in the Bodleian at Oxford, and the “Book of the Four Gospels” (of the tenth century) in the Minster Library at York, which are original and graceful, and have a reflection from the classical traditions. To an artistic eye they are beautiful. (Plate [51].)
The conscientious colouring of the Anglo-Saxon MSS. is liturgical. Mr. Clapton Rolfe[490] says that the Levitical traditions in the earlier system of decoration in the Christian Church had a far stronger hold on the popular mind than we are willing now to admit; and that the five Levitical colours, gold, blue, purple, red, and white, were retained in the Christian ritual. Whenever we come across figures of Anglo-Saxon bishops, the liturgical vesture entirely agrees with the Biblical description.
Embroideries before the twelfth century generally preserve a semi-Roman, semi-Oriental character, which is nearly related to the art which is called Lombardic. This differs from what we know of Scandinavian and Celtic design through illuminated books,[491] carving on stone crosses throughout the north of Europe, Great Britain, and Ireland, and the remains we possess of their metal work. I am not aware of any ecclesiastical embroideries which show a Celtic origin,[492] unless the intertwined patterns on Italian dresses in paintings of the thirteenth and fourteenth centuries may be supposed to be derived from that source. (See p. [91], ante.)
Fig. 25.
In accounting for the instances of evident Oriental influence on Christian art, which came through Byzantium, we must not restrict ourselves to searching out the Arabian traditions, but we must remember also how much Babylon and Persia, as well as India, had given to the Empire of the East, and these influences were in full force at the time that Christian art was being organized.