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By Bell Clive

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There was change before the signs of it became apparent. The earliest Christian paintings in the catacombs are purely classical. If the early Christians felt anything new they could not express it. But before the second century was out Coptic craftsmen had begun to weave into dead Roman designs something vital. The academic patterns are queerly distorted and flattened out into forms of a certain significance, as we can feel for ourselves if we go to the textile room at South Kensington. Certainly, these second century Coptic textiles are more like works of art than anything that had been produced in the Roman Empire for more than four hundred years.

That tendency is the enemy within the gate of every movement. Dogmatic religion can be vital and sincere, and what is more, theology and ritual have before now been the trumpet and drum of spiritual revolutions. But dogmatic or intellectually free, religious ages, ages of spiritual turmoil, ages in which men set the spirit above the flesh and the emotions above the intellect, are the ages in which is felt the emotional significance of the universe. Then it is men live on the frontiers of reality and listen eagerly to travellers' tales.

It would be easy to overrate the artistic value of the Chloudof Psalter, but as a document it is of the highest importance, because it brings out clearly the opposition between the official art of the iconoclasts that leaned on the Hellenistic tradition and borrowed bluntly from Bagdad, and the vital art that drew its inspiration from the Christian movement and transmuted all its borrowing into something new. Side by side with this live art of the Christian movement we shall see a continuous output of work based on the imitation of classical models.

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