European enamels . st part of the Christian erathere was but little art in Europe except theByzantine art that has been described. Theornaments that existed were mostly imported fromthe east. These times, occasionally called the darkages, witnessed the emergence of the Gothic tribesfrom barbarism and their conversion from Paganismto Christianity. At the commencement of the period,the most civilized parts of Europe belonged to Rome,and were governed by Roman officials, and kept insubjection by Roman armies. But as the imperialpower declined, the soldiers were withdrawn, andthe country lapsed in
European enamels . st part of the Christian erathere was but little art in Europe except theByzantine art that has been described. Theornaments that existed were mostly imported fromthe east. These times, occasionally called the darkages, witnessed the emergence of the Gothic tribesfrom barbarism and their conversion from Paganismto Christianity. At the commencement of the period,the most civilized parts of Europe belonged to Rome,and were governed by Roman officials, and kept insubjection by Roman armies. But as the imperialpower declined, the soldiers were withdrawn, andthe country lapsed into barbarism. It was a time ofdisorder and chaos. The idea of a state hardlyexisted. Here and there powerful warriors suc-ceeded in becoming chiefs at the head of bands ofsoldiers, and the peasants and traders were obligedto join and become their men, in order to securesafety. Thus arose the feudal system. Chris-tianity was gradually introduced by earnest mis-sionaries from Rome, and was one of the chief factors 54. THE CROWN OF CHARLEMAGNE MEDIAEVAL ENAMELS in the promotion of civilization. As the publicsecurity became greater, especially in the reign ofCharlemagne, learning and wealth began to advance,and at length a desire arose for some form of this chapter it will be our object to study theresults of this desire, up to the end of the four-teenth century. But before we do so, it may not be out of place tooffer a few observations upon the manner in whichthe thought and aspirations of any period influencethe artistic work that is done in it. A painter, ordecorator, like an orator, though he must be inven-tive, is not necessarily, nor indeed is he usually,a man of original mind. His strength lies in hispower of acutely sympathizing with and giving ex-pression to the feelings of those around him. Ifhe is living among people who are constantly dis-cussing religious mysteries, and who employ him topaint religious pictures, he will naturally repro-duce the feelings of those
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