was a series of subjects drawn from the New Testament with their "types" from the Old Testament set against them. Now Bede tells us categorically that a series of pictures representing such types was brought from Rome by Benedict Biscop to adorn his monastery. Thus paintings, embodying theological conceptions, originated in the East and were carried to Northumbria. Already in the Rossano book Christ appears as the Good Samaritan, who aids the traveller and carries him to the inn. This is a conception which is fully worked out in the superb late twelfth century stained glass window at Sens. In the painted book of Cosmas the Indian traveller, a sixth century Alexandrian work, there are several pairs of types, thus the Sacrifice of Isaac, the escape of Jonah from the Whale, and the Translation of Elijah, typify the Crucifixion, Resurrection and the Ascension of Christ. All these types reappear on the sculptures of the Irish crosses. Of course such "types" are found in the catacomb paintings, but in these the idea had not been systematised.
From the time of Charlemagne until the generation in which Gothic architecture was to emerge, Germany led in the arts. This is less obvious in architecture, but when the arts are considered as a whole it must be admitted. The carved ivories of the Carolingian school form a magnificent series, and the metal-work, enamels and manuscripts are as noteworthy. If we regard all the splendid works of art wrought in North Italy, Germany, North France and England, we may see that the Romanesque was an essentially Teutonic movement. The Gothic arose in France when the people had been sufficiently saturated with the new Romance spirit. The Romanesque looked back to Rome and Byzantium, the Gothic faced forward to the new world. The French kingdom was born while Gothic architecture was being formed.
Until the beginning of the twelfth century the centres of Romanesque art were in the neighbourhood of the lower Rhine and in Lombardy.
The most advanced piece of figure art wrought early in the twelfth century is the noble bronze font now at Liège, the work of an artist of Huy. This has completely shaken off barbarism, it is clear and sweet in expression, the sort of thing we should like to call modern if modern people could rise to it. A study of the bronze works at Hildesheim, wrought under the direction of the great Bishop Bernward, shews that the bronze workers of Huy derived their traditions from the artists of Hildesheim, as those doubtless followed the men who worked for Charlemagne at Aix two centuries earlier still. At Hildesheim the doors and the celebrated bronze column were made about the year 1075. On the square base of the latter are little figures of the four rivers of Paradise. This may remind us of the bronze pine cone at Aix which has the names of the rivers of Eden inscribed on its four sides. The four rivers occur again on a most beautiful bronze font of the thirteenth century in the cathedral. Again, on the bronze column there is a group of people listening to Christ, which is plainly the prototype of another
