History of mediæval art . ns ofthe initials {Fig. 130). The dec-orations are rendered attractiveby their ingenious composition,exact drawing, and rich color-ing, but the representations ofhuman figures which occur inthese illuminations are frightfulattempts to adapt its forms tothe braidings and twistings ofthe calligraphic designs. Thenatural shapes and proportionsare entirely neglected, while thegarments and extremities arecontorted in the most fantasticmanner, so as to reduce thewhole figure to an ornamentalproblem {Fig. 131). Fortunate-ly! the Germanic races of Eng-land and of the Continen
History of mediæval art . ns ofthe initials {Fig. 130). The dec-orations are rendered attractiveby their ingenious composition,exact drawing, and rich color-ing, but the representations ofhuman figures which occur inthese illuminations are frightfulattempts to adapt its forms tothe braidings and twistings ofthe calligraphic designs. Thenatural shapes and proportionsare entirely neglected, while thegarments and extremities arecontorted in the most fantasticmanner, so as to reduce thewhole figure to an ornamentalproblem {Fig. 131). Fortunate-ly! the Germanic races of Eng-land and of the Continent which had been converted by the Irishmissionaries did not entirely adopt these barbarous artistic meth-ods,—possible only among a people wholly uninfluenced by classicculture. This is proved by the Book of St. Cuthbert, now in theBritish Museum, which was written between 687 and 698 in thecloister of the English island Lindisfarne: while its ornaments areentirely Celtic, the human figures, though rude, show a striving. Fig. 130.—Miniature from the Gospel of Du-row, seventh century. Trinity College,Dublin. 244 THE CHRISTIAN ART OF THE NORTH. after realism which contrasts strongly with the methods of theIrish illuminators. In painting, as in all other branches of art, the accession ofCharlemagne resulted in an increased activity, which was in thiscase of exceptionally long duration. Although the Emperor de-sired rather to renew antique traditions than to lay the founda-tion of a national and independent art, yet in painting he openedthe way for new elements,—capable even of a greater development than it was possible for them if to attain in the troubloustimes of the ninth and tenthcenturies. The religious andmonumental works of this pe-riod must have been least af-fected by this peculiarly Ger-manic movement. The largemosaic which ornamented thedome of the Minster of Aix-la-Chapelle until the begin-ning of the last century wasprobably either imported alto-gether, or was
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