Identifier: historyofmedival00rebe (find matches)
Title: History of mediæval art
Year: 1893 (1890s)
Authors: Reber, Franz von, 1834-1919 Clarke, Joseph Thacher, d. 1920
Subjects: Art, Medieval
Publisher: New York : Harper & Bros.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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. 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 executed byItalian mosaic-workers whohad immigrated to the north-ern capital. Consequently itmust have exhibited a Byzan-tine style similar to that ofthe mosaic in the niche of thechoir of S. Ambrogio in Milan,which dates to the year 832. The religious wall-paintings of thechurches and cloisters built by Charlemagne without doubt exhib-ited the same features. The cloisters of Fontanellum, Fulda, andReichenau are known to have cultivated painting, and even thenames of several of their artists have been preserved, as for in-stance, Madalulfus in Fontanellum, and Brun in Fulda. The his-torical scenes in the palaces of Charlemagne at Aix-la-Chapelleand Ingelheim may have been somewhat more original, although
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Fig. 131.—St. Matthew the Evangelist, from aminiature dating to the eighth or ninth cen-tury. St. Gall. PAINTING. 245 the idea of such mural decorations may have been taken fromthose in the Palace of Theodelinde, Queen of the Lombards, atMonza. The Spanish wars of Charlemagne were represented atAix-la-Chapelle, and as the types of the Moorish enemies had notoccurred in Italian art, this must naturally have exercised the in-ventive faculties of the designer. Novel subjects were similarlyprovided in Ingelheim by the deeds of Charles Martell, Pipin, andCharlemagne, which concluded the historical series of episodes fromthe lives of Cyrus, Ninus, Phalaris, Romulus, Hannibal, Alexander,Constantine, and Theodosius. As none of these monumental works have been preserved, weare obliged to base our judgment of Carolingian painting upon theminiatures alone.* These memorials are well adapted to convey afavorable impression of the artistic activity of the period. The sim-ple initials in outline o

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