However, in Russia and throughout the Greek Church the ancient Byzantine use of hangings still remains in force.
The art of embroidery has always given its best efforts to these church draperies.
Rome was so laden with splendid embroideries by her eastern conquests, that probably the Christian decorators would have availed themselves of some of the accumulated stores; but we have no record of such adaptations, unless the splendid curtains and the silver hangings of Pope Stephen IV. were taken out of some imperial treasure-house.
The contrast between early ecclesiastical art and that which immediately preceded it in the palaces of the Cæsars (at Rome, Tivoli, and wherever we find their ruined glories) is most remarkable.
The lovely and the lively had been suddenly abandoned for the heavy earnest solemnity and inartistic drawing of the frescoes of the underground church of St. Clemente in Rome, and that of the early Christian mosaics.
It is as if the arts which had lent, nay, given themselves to the glorification of idols, had suddenly died out, leaving behind them neither an artist, nor a skilled artisan, scarcely a tradition.
The new Christian ideas had to be painfully recorded on sacred buildings and their furnishings for more than a thousand years; with all the patient acquiescence of untaught ignorance, and the struggling uncertainty of genius pursuing a distant glimmering light, apparently unconscious of all that had preceded it in Egyptian and classic art. The great political and religious revolutions in Europe had crushed and buried the arts under the ruins of the Empire over which Time himself seemed to have broken his hour-glass, so little was there to show any memory of their past, or hope for their future. The alternate progress and destruction of the arts in European civilization strike the student, in vivid contrast with the immutability of those of the East, especially in India and China, where the old forms were still being maintained by the swaddling bands of codified custom[497] that had restricted their development, but prolonged their existence, and so they had survived, while Greece conquered and robbed the East and Egypt, and Rome crushed Greece and was in her turn despoiled by the Goths and Huns.[498]
Christian art had to begin at the very beginning, and collect its own traditions, and organize its own forms. These gradually accumulated, availing themselves of accepted symbols, and adding to them hidden meanings. The Reformation checked this development in the north of Europe, but after 300 years we are now witnessing its revival, which is not merely owing to a religious impulse, but also to the archæological tendency of our day and to the historical interest we attach to the ceremonials of the East.
As the Reformation in Germany was less sweeping and iconoclastic than our own, we find there many more remains of ecclesiastical art collected in the churches to which they have always belonged, or in museums into which they have drifted;[499] and the Germans have thus been enabled to do more than even the French, in training the different schools of work throughout the Continent.
They have proved the Oriental character of the fabrics employed through the Dark and Middle Ages, i.e. for about 1400 years, whether they were Syrian, Indo-Chinese, Indian, Alexandrian, Greek, Sicilian, or Spanish, or whether they had come from Asia by the north or the south of Europe. The same traditional forms governed them all. But an adept is able generally to class and name each specimen by the texture of the webs, by the way gold or gilt thread is inwoven in them, whether the metal is pure or alloyed, round or flat; also by the mode of twisting and dyeing the wool, flax, or silk, and its quality and colouring matter.