|
IN the fifth century, when
the Italian Monks carried the Gospel to the Western people, nowhere was
it received with greater enthusiasm than by the Celts, who soon
developed in their religious writings a style quite different from that
then found on the continent. The Irish Monks were very skilful with
their pens, adorning not only the initial letters, but decorating the
page itself; their favorite designs at first being geometrical patterns,
into which they finally introduced such simple figures as snakes,
dragons, and the lower forms of animal life. The next step represents
the human body, but this step shows how utterly lacking the Barbarians,
as the Romans called them, were in the knowledge of anatomy. They
conventionalized the human face, limbs and hands, which they never
colored, and they treated the body itself merely as scroll-work. They
rarely used gold, but employed bright harmonious colors to fill in these
pen drawings. Although nature was utterly disregarded in the coloring
their rich borders with their graceful patterns and the delicate beauty
of their initial letters are most charming, as a manuscript in the
Bodleian library at Oxford bears witness.
As the Celts became
Christians they in turn sent missionaries to the Pictish Highlands, the
forests of Germany and the wilds of the Alps and the Appennines, where
they established many monasteries. When the Teutons embraced the new
faith they, too, began the art of illuminating, which differs somewhat
from that of the Celts, although it, too, was really decorative writing.
A unique feature of their work was the introduction of the foliage
design, the bodies of snakes, animals and semi-human monsters lending
themselves to this treatment, as is shown by a fine manuscript in the
Bibliotheque Nationale, Paris. During the time of Charlemagne, in the
ninth century, Ave find this branch of art receiving great
encouragement. The foliage work and curious animal creations of the
early period combine with the Irish scroll work and geometrical figures,
but much gold and silver are often introduced on a purple background. In
their figure pieces the illuminators try to follow early Christian
pictures, but the lack of technique, long flaring nose, glaring eyes and
awkward hands and feet make one think of the work of highly-gifted
children. The figures are surrounded by rich architecture, fine
tapestries and furniture; and even copies of ancient gems and coins
appear. A brush dipped in light red is generally used for the outline,
which is next covered with a thick coating of half-tint, the high lights
and shadows being added in solid color, while all details, such as
eyelids and so forth, are simply indicated by red and black lines. |
