180 



of invention, although it combines with the more severe simplicity 

 of Greek forms, the use of grotesques, or combinations of human, 

 animal, or vegetable ornaments. There is no symboHc meaning in 

 their deHneations ; no attempt to appeal to any other sense than 

 that of beauty or grace, although the use of the Griffin, the Sphynx, 

 or otherjforms of symbolic origin, is much more frequent in Roman 

 than in Greek art. Perhaps the only really distinctive ornament 

 the Roman school can claim, is the Shelly one of great importance, 

 however, being afterwards one of the most important features 

 of the Renaissance. 



We now come to the next great symbolic style of art, viz. 

 the Early Christain, with its development, the Byzantine, and to 

 comprehend even the barest outlines of this subject, we must again 

 glance at contemporaneous history. I must remind you for a 

 moment of the might, the majesty, the magnificence, the cruelty 

 he vice, the sensuality, and the voluptuous degeneracy of that 

 great Empire of Rome, which never seemed so superb and gorgeous 

 as when on the brink of destruction. Like some mighty ship, 

 manned by a drunken crew, with all sails set, driving right ahead 

 for the rock-bound coast, where the sullen roar of the breakers is 

 already heard, and the white surf is dimly seen. I must remind 

 you of the peculiar tenets of Christianity, which made it a 

 revelation of freedom and light to the poor and ignorant toilers of 

 Rome ; whilst it came as a rebuke and menace to the great and 

 mighty. Early Christian Art is in fact the history of the early 

 struggles of Christianity : it tells in touching and pathetic language 

 of its secrecy, its dangers, its tenacity, its faith, perseverance, 

 simplicity, and heroism; its endurance amid trials; its hidings in 

 caves and tombs ; its martyrdom ; its fortitude through all ; its 

 success ; its triumph — all are symbolized here ; the cycle of time is 

 rolled back again, and though with widely different conditions, we 

 revert to the same objects and motives which actuated the origin 

 of Egyptain and Ass}Tian art. The first and second centuries, 

 therefore, of the Christian era, yield not only a record of the gradual 

 triumph of Christian doctrines over Pagan idolatry, hut an illustration 

 of the triumph of the austere principles of Christian symbolism over 



