Classical Inspiration in Medieval Art by Walter Oakeshott

By Walter Oakeshott

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The accurate dating of paintings as such is so difficult that this papyrological evidence may be regarded as important. The date usually given however is the ist century. ^ It is in order to give CLASSICAL ORIGINS I7 even more remarkable phenomenon in view of this. But the traces of landscape in the Utrecht Psalter (loa), in the first half of the gth century, show that there were models available to Carolingian scribes in which something of this tradition of classical landscape still survived. There are few works from antiquity that one would rather recover.

The actual models before him may have been ivories or bone carvings, like the 6th century Coptic inhabited scroll now in the Walters Art Gallery, Baltimore, which was compared with the Bewcastle scroll by Saxl and Wittkower, or the ivory in the Louvre, an analogue of which has provided the sculptor with his model of Christ healing the blind man. it is probable that the Bewcastle sculptor also used books as models, and perhaps paintings. But one quality of the new crosses was their originality as seen for example in the eagle which reaches up to St.

II THE NORTHUMBRIAN RENAISSANCE AND ITS BACKGROUND SERIES of THIS way which in classical scientific ages. The began with a summary discussion of the and in particular some ideas, were transmitted through the middle lectures classical ideas in general, impression such a survey gives is of the remarkable, if often — In some form often some of them reappear again and again. Some, where the critical text was in Latin, were continuously available, if seldom understood, and it is difficult to predict where or isolated, persistence of certain classical notions.

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