File:History of mediæval art (1893) (14757049286).jpg

Identifier: historyofmedival00rebe (find matches)
Title: History of mediæval art
Year: 1893 (1890s)
Authors: Reber, Franz von, 1834-1919 Clarke, Joseph Thacher, d. 1920
Subjects: Art, Medieval
Publisher: New York : Harper & Bros.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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during thedomination of the Ostro-goths, such as those in theBaptistery of the Arians(S. Maria in Cosmedin), andin S. Apollinare nuovo, thecourt church of Theodoric,are only to be distinguishedfrom the works of the Ital-ians preceding and follow-ing that epoch by thesteady decline of the ar-tistic style. The portraitsof Theodoric in mosaic, known to have existed at Ravenna, Pavia, and Naples, can have pre-sented no peculiar characteristics, and must in many respects haveresembled the images of Justinian (compare Fig. 50). The superior-ity of the mosaics of Rome in the seventh century over those ofByzantium must have been of influence upon the Lombardic art,and have been apparent in its chief works: the painted decorations ofthe palace of Theodelinde at Monza, with representations of the war-like deeds of the Lombards,—the mosaics of the Basilica of Olona,A. D. 712 to 743,—those dating to the seventh or eighth centuryin Gravedona, on the Lake of Como, — and the paintings with 16
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Fig. 129. -Relief of Ivory, the work of the monkTutilo of St. Gall. 242 THE CHRISTIAN ART OF THE NORTH. which Duke Anthimus adorned a church in Naples. Nothing hasremained of all these. Their loss to the history of art is compara-tively small, inasmuch as the paintings and mosaics of both theOstrogoths and the Lombards may be assumed to have been exe-cuted by Italians or by Byzantines. Monumental paintings appeared among the Visigoths and theFranks as early as did the building of churches. Gregory of Toursmentions them as common in the fifth and sixth centuries, andgives an account of mosaics in Cologne which conferred upon achurch of that city the name ad sanctos aureosT In the secondhalf of the seventh century painters were brought to England fromItaly, which fact points to the introduction of ecclesiastical paint-ings among the Anglo-Saxons at this time, as well as to thelack of trained artists in Gaul. The only memorials of this artreferable to the Merovingian epoch are a few manu

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