gradually lost the sturdy spirit of independence, endurance, and courage
which had characterized their forefathers, and had degenerated into a race
of effeminate slaves and cowards. Ostentation became the feature of their
art; immorality and luxury, of their mode of living. They thus fell an easy
prey to the rude but vigorous barbarians of the North. The latter, rude and
uncivilized as they were, extended the contempt they had for the nation
they had conquered to their works of art as well, and mutilated or
destroyed them whenever they could lay hands on them.

This spirit of antagonism was strengthened upon their conversion to
Christianity, and everything that savored of paganism in art or literature
was severely proscribed. For the heathen forms, whose only aim and object
was beauty, were substituted religious symbols, the cross and other
implements of the passion, the lily, the fish, the aureole, etc., whose
object was to recall to the faithful the mysteries of religion. Gradually,
however, as the artistic feelings of the new people became awakened,
principles of beauty commenced to be regarded, and, while symbolism
remained an important feature of European art until the period of the
Renaissance, and even then was not entirely superseded, magnificent
artistic results were obtained.

1. _Byzantine Art._--The principal of the early mediæval art developments
was the Byzantine. It flourished principally in the eastern part of Europe.
In the west it was known, with a few variations, as the Lombard and the
Norman. All three are often included under the term Romanesque.

Byzantine art was essentially Christian in its spirit and motives. It used
religious symbols extensively, but incorporated in its ornament a few pagan
elements, such as the acanthus and the scroll. Natural forms were always
conventionally treated. Its coloring was rich and gorgeous. The principal