No More Learning

OH. XXI.


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566
Imagery and Colour
the glass of Le Mans, Chartres, and Strasbourg, and for the most part
the code of imagery had been worked out by enamel-workers and
illuminators of books before it was adopted for stained glass.
There was a great expansion in the production of sculpture and its
application to architecture during the twelfth century, and an enormous
increase of power in dealing with it. Here again, however, all the great
types and traditions of treatment seem to have been invented or rather
developed by the Carolingian schools. For instance, there are two
delightful small impersonations of Land and Sea carved amongst the
early Gothic sculptures of the west front of Notre Dame at Paris.
Such impersonations derive directly from Romanesque ivories and
illuminated books of the German school and thence may be traced to
Alexandrian art. In the Carolingian age imagery had, for the most
.
part, been on a small scale, in metal-work and ivory, but some of it had
been of great beauty in conception and of masterly execution. By the
middle of the twelfth century several notable schools of architectural
sculpture had been developed in Italy, France, and Spain. In England
beginnings were made towards the development of what became a
special English tradition; the west front treated as a background for
an array of sculptured figures having reference to the Last Judgment.
Some remnants found at York and others extant at Lincoln are evidence
for this.
Sculpture, stained glass, and the large schemes of painting which
covered the interiors of Romanesque churches, were very largely inspired
by painted books. These illuminated volumes are almost the most
wonderful products of the whole Romanesque period. What the book
of Kells is to Irish art, and the Lindisfarne book to the Anglo-Celtic
school of Northumbria, is well known. Several superb Carolingian
volumes are just as remarkable, and this pre-eminence of the book was
sustained until the end of our period. Some hundred splendid books
and rolls written and painted in the twelfth century are marvels of
thoughtful invention and skilful manipulation. At this time types and
symbols were still dealt with in the great manner; many of the designers
at work seem to have had the imagination of Blake with ten times his
power of execution. For example, take the designs of an “Exultet "
roll in the British Museum; the first painting is Christ majestically
enthroned; then comes a group of rejoicing angels; then the interior
of a basilica shewn in section with nave and aisles and in the midst a
colossal Mater Ecclesia standing between groups of clergy and people ;
the next is Mother Earth, a woman's figure half emerging from the
ground, nourishing an ox and a dragon ; further on is the Crucifixion
with its “ type,” the passage of the Red Sea ; and near the end, after a
flower garden with bees, the Virgin and Holy Child. This appears to
be an Italian work of the middle of the twelfth century.
The artists of Charlemagne made use of mosaic in large schemes of


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Mosaics and painting
567
decoration. The vault, an octagonal dome in form, over the central
area of the palace chapel at Aix-la-Chapelle was covered by a simple but
splendid design of the sort which modern designers find it so hard to
imitate. The first rapture of all these things can never be recovered.
On a starry ground was set a great Figure of the throned Majesty, and
beneath were the twenty-four elders forming a band around the base of
the dome. The ancient church of St Germigny in France still has in
its apse a mosaic of rather crude workmanship but similar in ability of
design. Here two colossal cherubim with expanded wings guard the
ark of the New Covenant, and above in the centre is the Right Hand of
God. The floor of the chapel at Aix was also covered with coarse
mosaic, and mosaic floors were common in the Romanesque churches of
Germany, Lombardy and France. The mosaics of both walls and floors
in Italy are too many and too well known to require mention. In
France one or two floor mosaics still remain. The most perfect one is in
the church of Lescar in the south. This was laid down in 1115. Two
panels are preserved in the Cluny Museum of the beautiful mosaic floor
of the abbey church of St Denis (c. 1150).
The internal walls and ceilings of Romanesque churches were (by
custom) painted entirely with scriptural pictures and large single figures
of saints, all set out according to traditional modes of arrangement and
with schemes of teaching. In Germany several large churches retain, in
a more or less restored condition, an almost complete series of such
paintings. One of the most notable is the basilican church at Brunswick.
But the most striking of all is, probably, the church at Hildesheim,
where the flat boarded ceiling is entirely occupied by an enormous
Jesse-tree, the ramifying branches of which spread over the whole nave.
In Italy many painted churches of Romanesque date still exist, as, for
instance, the church of San Pietro a Grado near Pisa. In France the
church of St Savin has preserved its paintings most completely. Here,
and in the many traces of paintings in a Byzantine tradition which are
to be found on the walls and vaults of the cathedral of Le Puy, may be
seen sufficient evidence to suggest what the idea of interior architectural
painting was during the Romanesque epoch. A Romanesque church
was intended to be as fully adorned with paintings as was a Byzantine
church, and, indeed, the traditions of the two schools flowed very much
in a common stream from one source. It was the same in England, as is
shewn by fragments at Pickering, St Albans, Norwich, Ely, Romsey,
Canterbury, and other places. We probably think of our “Norman”
churches as rude and melancholy, but if we picture for ourselves all the
colour suggested by the fragmentary evidences which exist, and furnish
again by imagination the vistas of the interior with their great coronae
of lights, the gilded roods, and embossed altar-pieces, the astonishing
nature of these vast and splendid works will fill our minds with some-
what saddening reflections. Archaeology is no minister to pride.
CH, XXI.


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569
LIST OF ABBREVIATIONS OF TITLES
OF PERIODICALS, SOCIETIES, ETC.
vol. 1.
(1) The following abbreviations are used for titles of periodicals :
AB. Analecta Bollandiana. Brussels.
AHR. American Historical Review. New York and London.
AKKR. Archiv für katholisches Kirchenrecht. Mayence.
AM. Annales du Midi. Toulouse.
AMur. Archivio Muratoriano. Rome.
Ang. Anglia. Zeitschrift für englische Philologie. Halle a. S. 1878 ff.
Arch. Ven. Archivio veneto. Venice, 1871-90, continued as Nuovo archivio veneto.
Venice. 1891 ff.
ASAK. Anzeiger für schweizerische Alterthumskunde. Zurich.
ASHF. Annuaire-Bulletin de la Société de l'histoire de France. Paris.
ASI. Archivio storico italiano. Florence. Ser. 1. 20 v. and App. 9 v. 1842–53.
Index. 1857. Ser. nuova. 18 v. 1855–63. Ser. III. 26'v. 1865-77.
Indices to 11 and 1. 1874. Suppt. 1877. Ser. IV. 20 v. 1878–87.
Index. 1891. Ser. v. 49 y. 1888–1912. Index. 1900. Anni 71 etc.
1913 ff. in progress.
(Index in Catalogue of The London Library,
1913. )
ASL. Archivio storico lombardo. Milan.
ASPN. Archivio storico per le province napoletane. Naples. 1876 ff.
ASRSP. Archivio della Società romana di storia patria. Rome.
BCRH. Bulletins de la Commission royale d'histoire. Brussels.
BHisp. Bulletin hispanique. Bordeaux.
BISI. Bullettino dell'Istituto storico italiano. Rome. 1886 ff.
BRAH. Boletin de la R. Academia de la historia. Madrid.
BZ. Byzantinische Zeitschrift. Leipsic.
CQR. Church Quarterly Review. London.
CR. Classical Review. London.
DZG. Deutsche Zeitschrift für Geschichtswissenschaft. Freiburg-i. -B.
DZKR. Deutsche Zeitschrift für Kirchenrecht. Leipsic.
EHR. English Historical Review. London.
FDG. Forschungen zur deutschen Geschichte.
HJ. Historisches Jahrbuch. Munich.
HMC. Historical Manuscripts Commission's Publications. London. 1883 ff.
HVJS. Historische Vierteljahrsschrift. Leipsic.
HZ.
Historische Zeitschrift (von Sybel). Munich and Berlin.
JA. Journal Asiatique. Paris.
JB. Jahresberichte der Geschichtswissenschaft im Auftrage der historischen
Gesellschaft zu Berlin. Berlin. 1878 ff.


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570
Abbreviations
JSG. Jahrbuch für schweizerische Geschichte. Zurich.
JTS. Journal of Theological Studies. London.
MA. Le moyen âge. Paris.
MIOGF.
Mittheilungen des Instituts für österreichische Geschichtsforschung.
Innsbruck.
NAGDG. Neues Archiv der Gesellschaft für ältere deutsche Geschichtskunde.
Hanover and Leipsic.
NRDF. Nouvelle Revue historique du droit français. Paris.
QFIA. Quellen und Forschungen aus italienischen Archiven und Bibliotheken.
Rome.
RA. Revue archéologique. Paris.
RBAB. Revue des bibliothèques et des archives de la Belgique. Brussels.
RBén. Revue bénédictine. Maredsous.
RCel. Revue celtique. Paris.
RCHL. Revue critique d'histoire et de littérature. Paris.
RH. Revue historique. Paris.
RHD. Revue d'histoire diplomatique. Paris.
RHE.
Revue d'histoire ecclésiastique. Louvain.
Rhein.
Mus. Rheinisches Museum für Philologie. Frankfurt-a. -M.
RN. Revue de numismatique. Paris.
ROC. Revue de l'Orient chrétien. Paris.
RQCA. Römische Quartalschrift für christliche Altertumskunde und Kirchen-
geschichte. Rome.
RQH. Revue des questions historiques. Paris.
RSH. Revue de synthèse historique. Paris.
RSI. Rivista storica italiana. Turin.
SKAW. Şitzungsberichte der Kaiserlichen Akademie der Wissenschaften. Vienna.
(Phil. hist. C'lasse. ]
SPAW. Sitzungsberichte der kön. preussischen Akademie der Wissenschaften.
Berlin.
TRHS. Transactions of the Royal Historical Society. London.
VV. Vizantiyski Vremennik. St Petersburg (Petrograd).
ZCK. Zeitschrift für christliche Kunst. Düsseldorf.
ZKG. Zeitschrift für Kirchengeschichte. Gotha.
ZKT. Zeitschrift für katholische Theologie. Gotha.
ZR. Zeitschrift für Rechtsgeschichte. Weimar. 1861–78. Continued as
ZSR. Zeitschrift der Savigny-Stiftung für Rechtswissenschaft. Weimar.
1880 ff.
ZWT. Zeitschrift für wissenschaftliche Theologie. Fraukfurt-a. -M.
(2) Among other abbreviations used (see General Bibliography) are:
AcadIBL. Académie des Inscriptions et Belles-Lettres.
AcadIP. Académie Impériale de Pétersbourg.
AllgDB. Allgemeine deutsche Biographie.
ASBen. See Mabillon and Achery in Gen. Bibl. iv.
ASBoll. Acta Sanctorum Bollandiana.
BEC. Bibliothèque de l'École des Chartes.
BGén. Nouvelle Biographie générale.
BHE. Bibliothèque de l'École des Hautes Études.
Bouquet. See Rerum Gallicarum etc. in Gen. Bibl. iv.
BUniv. Biographie universelle.
CIG. Corpus Inscriptionum Graecarum.
CIL. Corpus Inscriptionum Latinarum.


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Abbreviations
571
Coll.
textes. Collection des textes pour servir à l'étude et à l'enseignement de l'histoire.
CSCO. Corpus scriptorum christianorum orientalium.
CSEL. Corpus scriptorum ecclesiasticorum latinorum.
CSHB. Corpus scriptorum historiae Byzantinae.
DCA. Dictionary of Christian Antiquities.
DCB. Dictionary of Christian Biography.
DNB. Dictionary of National Biography.
EcfrAR. École française d'Athènes et de Rome. Paris.
EETS. Early English Text Society.
EncBr. Encyclopaedia Britannica.
FHG. Müller's Fragmenta Historicorum Graecorum.
Fonti. Fonti per la Storia d'Italia.
KAW. Kaiserliche Akademie der Wissenschaften. Vienna.
MEC. Mémoires et documents pub. par l'École des Chartes.
MGH. Monumenta Germaniae Historica.
MHP. Monumenta historiae patriae. Turin.
MPG. Migne's Patrologiae cursus completus. Ser. graeca.
MPL. Migue's Patrologiae cursus completus. Ser. latina.
PAW. Königliche preussische Akademie d. Wissenschaften. Berlin.
RC. Record Commissioners.
RE3. Real-Encyklopädie für protestantische Theologie, etc.
Rec.
hist. Cr. Recueil des historiens des Croisades.
RGS. Royal Geographical Society.
RHS. Royal Historical Society.
Rolls. Rerum Britannicarum medii aevi scriptores.
RR. II. SS. See Muratori in Gen. Bibl. iv.
SGUS. Scriptores rerum Germanicarum in usum Scholarum.
SHF. Société d'histoire française.
SRD. Scriptores rerum Danicarum medii aevi.
In the case of many other works given in the General Bibliography abbreviations
as stated there are used.