The golden days of the early English church : from the arrival of Theodore to the death of Bede . contemporary artists on theContinent. The style and design point, however,to another hand than the author of the paintingslast described. A third artist was probably a foreigner, orsome Englishman who had learnt from a are the likenesses of the Evangelists, eachaccompanied by his respective symbol. They eachoccupy a page at the head of the several Gospels,and are executed in a style of art quite unlike thatof the Irish or early Anglo-Saxon school, and bear-ing evident traces of Byzan
The golden days of the early English church : from the arrival of Theodore to the death of Bede . contemporary artists on theContinent. The style and design point, however,to another hand than the author of the paintingslast described. A third artist was probably a foreigner, orsome Englishman who had learnt from a are the likenesses of the Evangelists, eachaccompanied by his respective symbol. They eachoccupy a page at the head of the several Gospels,and are executed in a style of art quite unlike thatof the Irish or early Anglo-Saxon school, and bear-ing evident traces of Byzantine origin, not only in itscomposition but also in the Greek words inscribed(in Roman capitals)—O Agios Matthaeus, insteadof the Latin Sanctus Matthaus, and which inthe picture of St. Mark is written O Agius (sic)Marcus, with a Latin termination. Waagen saysof the designs : They are, notwithstanding, verydifferent from the contemporary Byzantine andItalian paintings, as well as from those of themonarchy of the Franks of the eighth and ninth fj&&7S& — — >- JS1V 1. INITIAI, PAGE OF ONE OF THE FIVE DIVISIONS OF THE LlNDISFARXE MS. W. ///., facing p. 116. THE LINDISFARNE GOSPELS 117 centuries, for in all these the character of ancientart, in which the four Evangelists were originallyrepresented, is very clearly retained in the designand treatment; these paintings, on the contrary,have a very barbarous appearance, but are executedin their way with the greatest mechanical remains of the Byzantine models but theattitudes, the fashion of the dress, and the form ofthe seats. Instead of the broad antique executionwith the pencil, in water colours, in which theshadows, lights, and middle tints were given, allthe outlines here are very delicately traced with thepen and only the local colours put on, so that theshadows are entirely wanting, with the exceptionof the sockets of the eyes and along the nose. Thefaces are quite inanimate, like a piece of calligra
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Keywords: ., bookcentury1900, bookdecade1910, booki, bookpublisherlondonmurray
