By Walter Oakeshott
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Sample text
It a rediscovery. Yet is we have already And this is not a revival. seen, in the Utrecht Psalter, a gth century book with suggestions of landscape which seem to go to the antique tradition of the Odyssey landscapes. In this as back in so much else, it is in the loth century that the classical tradition is finally lost. One of antique painting calls for mention, the quality which seems to be intended by Pliny's term splendor. After talking of the discovery of light and shade in art, he says Postea deinde B last characteristic CLASSICAL INSPIRATION l8 adiectus est splendor, alius hie MEDIEVAL ART He talks elsewhere of another IN quam lumen.
But he died on the way, so that the book did not reach its destination. It already had a dedicatory inscription addressed by Ceolfrid to the Pope, in three elegiac couplets. This inscription was altered by an abbot, into whose hands the book in the revised dedication Petrus Longobadorum who called himself and who gave it to an fell, which he called the Coenobium salvatoris. His alterations, however (and this may be a significant comment on the relative merits of Northumbrian and Lombard scholarship), make no pretence at scansion.
The enamelled escutcheons of all the great series of hanging bowls belonging apparently to the 6th and 7th centuries are the last flowering of this style in metal work made actually in England;^ though in Ireland it persisted far longer. The evidence thus is that a style to wlych the term 'Irish' used to be applied was much more widespread at the time of the conversion than could justify the use of that term in relation to books such as the Lindisfarne Gospels. They are still however predominantly 'barbaric' in our sense of the term, though, as from a time influence was already beginning to be felt, in which a revived classical and they show some significant The shall see, they date traces of it.
Classical inspiration in medieval art by Walter Oakeshott
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