religion from that of the Greeks and Romans. The Hellenistic faith was a worship of nature, a glorification of humanity, an exaltation of physical and moral perfections. It dealt with the material and the tangible, and Greek art appealed directly to the sensuous and earthly nature of mankind. The Hebraic faithor Christianity was just the opposite of this. It decried the human, the flesh, and the worldly. It would have nothing to do with the beauty of this earth. Its hopes were centred upon the life hereafter. The teaching of Christ was the humility and the abasement of the human in favor of the spiritual and the divine. Where Hellenism appealed to the senses, Hebraism appealed to the spirit. In art the fine athletic figure, or, for that matter, any figure, was an abomination. The early Church fathers opposed it. It was forbidden by the Mosaic decalogue and savored of idolatry.
But what should take its place in art? How could the new Christian ideas be expressed without form? Symbolism came in, but it was insufficient. A party in the Church rose up in favor of more direct representation. Art should be used as an engine of the Church to teach the Bible to[39] those who could not read. This argument held good, and notwithstanding the opposition of the Iconoclastic party painting grew in favor. It lent itself to teaching and came under ecclesiastical domination. As it left the nature of the classic world and loosened its grasp on things tangible it became feeble and decrepit in its form. While it grew in sentiment and religious fervor it lost in bodily vigor and technical ability.
FIG. 18.--CATACOMB FRESCO. CRYPT OF S. CECILIA. THIRD CENTURY.
For many centuries the religious motive held strong, and art was the servant of the Church. It taught the Bible truths, but it also embellished and adorned the interiors of the churches. All the frescos, mosaics, and altar-pieces had a decorative motive in their coloring and setting. The church building was a house of refuge for the oppressed, and it was made attractive not only in its lines and proportions but in its ornamentation. Hence the two motives of the early work--religious teaching and decoration.
SUBJECTS AND TECHNICAL METHODS: There was no distinct Judaic or Christian type used in the very early art. The painters
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took their models directly from the Roman frescos and marbles. It was the classic figure and the classic cos[40]tume, and those who produced the painting of the early period were the degenerate painters of the classic world. The figure was rather short and squat, coarse in the joints, hands, and feet, and almost expressionless in the face. Christian life at that time was passion-strung, but the faces in art do not show it, for the reason that the Roman frescos were the painter's model, not the people of the Christian community about him. There was nothing like a realistic presentation at this time. The type alone was given.
In the drawing it was not so good as that shown in the Roman and Pompeian frescos. There was a mechanism about its production, a copying by unskilled hands, a negligence or an ignorance of form that showed everywhere. The coloring, again, was a conventional scheme of flat tints in reddish-browns and bluish-greens, with heavy outline bands of brown. There was little perspective or
background, and the figures in panels were separated by vines, leaves, or other ornamental division lines. Some relief was given to the figure by the brown outlines. Light-and-shade was not well rendered, and composition was formal. The great part of this early work was done in fresco after the Roman formula, and was executed on the walls of the Catacombs. Other forms of art showed in the gilded glasses, in manuscript illumination, and, later, in the mosaics.
Technically the work begins to decline from the beginning in proportion as painting was removed from the knowledge of the ancient world. About the fifth century the figure grew heavy and stiff. A new type began to show itself. The Roman toga was exchanged for the long liturgical garment which hid the proportions of the body, the lines grew hard and dark, a golden nimbus appeared about
the head, and the patriarchal in appearance came into art. The youthful Orphic face of Christ changed to a solemn visage, with large, round eyes, saint-like beard, and melancholy air. The classic qualities were fast disappearing.[41] Eastern types and elements were being introduced through Byzantium. Oriental ornamentation, gold embossing, rich color were doing away with form, perspective, light-and-shade, and background.
FIG. 19.--CHRIST AS GOOD SHEPHERD. MOSAIC, RAVENNA, FIFTH CENTURY. Please click here for a modern color image
The color was rich and the mechanical workmanship fair for the time, but the figure had become paralytic. It shrouded itself in a sack-like brocaded gown, had no feet at times, and instead of standing on the ground hung in the air. Facial expression ran to contorted features, holiness became moroseness, and sadness sulkiness. The flesh was brown, the shadows green-tinted, giving an unhealthy look to the faces. Add to this the gold ground (a Persian inheritance), the gilded high lights, the absence of perspective, and the composing of groups so that the figures looked piled one upon another instead of receding, and we have the style of painting that prevailed in Byzantium and Italy from about the ninth to the thirteenth century. Nothing of a technical nature was in its favor except the rich coloring and the mechanical adroitness of the fitting.[42]
EARLY CHRISTIAN PAINTING: The earliest Christian painting appeared on the walls of the Catacombs in Rome. These were decorated with panels and within the panels were representations of trailing vines, leaves, fruits, flowers, with birds and little genii or cupids. It was painting similar to the Roman work, and had no Christian significance though in a Christian place. Not long after,
however, the desire to express something of the faith began to show itself in a symbolic way. The cups and the vases became marked
with the fish, because the Greek spelling of the word "icthus" gave the initials of the Christian confession of faith. The paintings
of the shepherd bearing a sheep symbolized Christ and his flock; the anchor meant the Christian hope; the phoenix immortality; the ship the Church; the cock watchfulness, and so on. And at this time the decorations began to have a double meaning. The vine came to represent the "I am the vine" and the birds grew longer wings and became doves, symbolizing pure Christian souls.
It has been said this form of art came about through fear of persecution, that the Christians hid their ideas in symbols because open representation would be followed by violence and desecration. Such was hardly the case. The emperors persecuted the living, but the dead and their sepulchres were exempt from sacrilege by Roman law. They probably used the symbol because they feared the Roman figure and knew no other form to take its place. But symbolism did not supply the popular need; it was impossible to originate an entirely new figure; so the painters went back and borrowed the old Roman form. Christ appeared as a beardless youth in Phrygian costume, the Virgin Mary was a Roman matron, and the Apostles looked like Roman senators wearing the toga.
Classic story was also borrowed to illustrate Bible truth. Hermes carrying the sheep was the Good Shepherd, Psyche discovering Cupid was the curiosity of Eve, Ulysses clos[43]ing his ears to the Sirens was the Christian resisting the tempter. The pagan Orpheus charming the animals of the wood was finally adopted as a symbol, or perhaps an ideal likeness of Christ. Then followed more
direct representation in classic form and manner, the Old Testament prefiguring and emphasizing the New. Jonah appeared cast into the sea and cast by the whale on dry land again as a symbol of the New Testament resurrection, and also as a representation of the actual occurrence. Moses striking the rock symbolized life eternal, and David slaying Goliath was Christ victorious.
FIG. 20.--CHRIST AND SAINTS. FRESCO. S. GENEROSA, SEVENTH CENTURY (?).
The chronology of the Catacombs painting is very much mixed, but it is quite certain there was degeneracy from the start. The
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cause was neglect of form, neglect of art as art, mechanical copying
