ROMANIZATION IN ART

Art shows a rather different picture. Here we reach definite survivals of Celtic traditions. There flourished in Britain before the Claudian conquest a vigorous native art, chiefly working in metal and enamel, and characterized by its love for spiral devices and its fantastic use of animal forms. This art ­La Tene or Late Celtic or whatever it be styled-was common to all the Celtic lands of Europe just before the Christian era, but its vestiges are particularly clear in Britain. When the Romans spread their dominion over the island, it almost wholly vanished. For that we are not to blame any evil influence of this particular Empire. All native arts, however beautiful, tend to disappear before the more even technique and the neater finish of town manufactures. The process is merely part of the honour which a coherent civilization enjoys in the eyes of country folk. Disraeli somewhere describes a Syrian lady preferring the French polish of a western boot to the jewels of an eastern slipper. With a similar preference the British Celt abandoned his national art and adopted the Roman provincial fashion.

He did not abandon it entirely. Little local manufactures of pottery or fibulae testify to its sporadic survival. Such are the brooches with Celtic affinities made (as it seems) near Brough (Verterae) in Westmorland, and the New Forest urns with their curious leaf ornament (Fi, and above all the Castor ware from the banks of the Nen, five miles west of Peterborough. We may briefly examine this last instance. At Castor and Chesterton, on the north and south sides of the river, were two Romano-British settlements of comfortable houses, furnished in genuine Roman style. Round them were extensive pottery works. The ware, or at least the most characteristic of the wares, made in these works is generally known as Castor or Durobrivian ware. Castor was not, indeed, its only place of manufacture. It was produced freely in northern Gaul, and possibly elsewhere in Britain. But Castor is the best known and best attested manufacturing centre, and the easiest for us to examine. The ware directly embodies the Celtic tradition. It is based, indeed, on classical elements, foliated scrolls, hunting scenes, and occasionally mythological representations (Fig, 16). But it recasts these elements with the vigour of a true art and in accordance with its special tendencies. Those fantastic animals with strange out-stretched legs and backturned heads and eager eyes; those tiny scrolls scattered by way of decoration above or below them; the rude beading which serves, not ineffectively, for ornament or for dividing line; the suggestion of returning spirals; the evident delight of the artist in plant and animal forms and his neglect of the human figure-all these are Celtic. When we turn to the rarer scenes in which man is specially prominent-a hunt, or a gladiatorial show, or Hesione fettered naked to a rock and Hercules saving her from the monster-the vigour fails (Fi. The artist could not or would not cope with the human form. His nude figures, Hesione and Hercules, and his clothed gladiators are not fantastic but grotesque. They retain traces of Celtic treatment, as in Hesione’s hair. But the general treatment is Roman. The Late Celtic art is here sinking into the general conventionalism of the Roman provinces.

A second instance may be cited, this time from sculpture, of important British work which is Celtic, or at least un-Roman (Frontispiece). The Spa at Bath (Aquae Sulis) contained a stately temple to Sul or Sulis Minerva, goddess of the waters. The pediment of this temple, partly preserved by a lucky accident and unearthed in 1790, was carved with a trophy of arms-in the centre a round wreathed shield upheld by two Victories, and below and on either side a helmet, a standard (?), and a cuirass. It is a classical group, such as occurs on other Roman reliefs. But its treatment breaks clean away from the classical. The sculptor placed on the shield a Gorgon’s head, as suits alike Minerva and a shield. But he gave to the Gorgon a beard and moustache, almost in the manner of a head of Fear, and he wrought its features with a fierce virile vigour that finds no kin in Greek or Roman art. I need not here discuss the reasons which may have led him to add the male attributes to a properly female type. For our present purpose the important fact is that he could do it. Here is proof that, once at least, the supremacy of the dominant conventional art of the Empire could be rudely broken down.

A third example, also from sculpture, is supplied by the Corbridge Lion, found among the ruins of Corstopitum in Northumberland in 1907 (Fi. It is a sculpture in the round showing nearly a life-sized lion standing above his prey. The scene is common in provincial Roman work, and not least in Gaul and Britain. Often it is connected with graves, sometimes (as perhaps here) it served for the ornament of a fountain. But if the scene is common, the execution of it is not. Artistically, indeed, the piece is open to criticism. The lion is not the ordinary beast of nature. His face, the pose of his feet, the curl of his tail round his hind leg, are all untrue to life. The man who carved him knew perhaps more of dogs than lions. But he fashioned a living animal. Fantastic and even grotesque as it is, his work possesses a wholly unclassical fierceness and vigour, and not a few observers have remarked when seeing it that it recalls not the Roman world but the Middle Ages.

These exceptions to the ruling Roman-provincial culture are probably commoner in Britain than in the Celtic lands across the Channel. In northern Gaul we meet no such vigorous semi-barbaric carving as the Gorgon and the Lion. At Trier or Metz or Arlon or Sens the sculptures are consistently classical in style and feeling, and the value of this fact is none the less if (with some writers) we find special geographical reasons for the occurrence of certain of these sculptures. Smaller objects tell much the same tale. In particular the bronze ‘fibulae’ of Roman Britain are peculiarly British. Their commonest varieties are derived from Celtic prototypes and hardly occur abroad. The most striking example of this is supplied by the enamelled ‘dragon-brooches’. Both their design (Fi and their gorgeous colouring are Celtic in spirit; they occur not seldom in Britain; on the Continent only four instances have been recorded. Here certainly Roman Britain is more Celtic than Gallia Belgica or the Rhine Valley. Yet a complete survey of the brooches used in Roman Britain would show a large number of types which were equally common in Britain and on the Continent. Exceptions are always more interesting than rules-even in grammar. But the exceptions pass and the rules remain. The Castor ware and the Gorgon’s head are exceptions. The rule stands that the material civilization of Britain was Roman. Except the Gorgon, every worked or sculptured stone at Bath follows the classical conventions. Except the Castor and New Forest pottery, all the better earthenware in use in Britain obeys the same law. The kind that was most generally employed for all but the meaner purposes, was not Castor but Samian or terra sigillata. This ware is singularly characteristic of Roman-provincial art. As I have said above, it is copied wholesale from Italian originals. It is purely imitative and conventional; it reveals none of that delight in ornament, that spontaneousness in devising decoration and in working out artistic patterns which can clearly be traced in Late Celtic work. It is simply classical, in an inferior degree.

The contrast between this Romano-British civilization and the native culture which preceded it can readily be seen if we compare for a moment a Celtic village and a Romano-British village. Examples of each have been excavated in the south-west of England, hardly thirty miles apart. The Celtic village is close to Glastonbury in Somerset. Of itself it is a small, poor place-just a group of pile dwellings rising out of a marsh, or (as it may then have been) a lake, and dating from the two centuries immediately preceding the Christian era. Yet, poor as it was, its art is distinct. There one recognizes all that general delight in decoration and that genuine artistic instinct which mark Late Celtic work, while the technical details of the ornament, as, for example, the returning spiral, reveal their affinity with the same native fashion. On the other hand, no trace of classical workmanship or design intrudes. There has not been found anywhere in the village even a fibula with a hinge instead of a spring, or of an Italian (as opposed to a Late Celtic) pattern. Turn now to the Romano-British villages excavated by General Pitt-Rivers at Woodcuts and Rotherley and Woodyates, eleven miles south-west of Salisbury, near the Roman road from Old Sarum (Sorbiodunum) to Dorchester in Dorset. Here you may search in vain for vestiges of the native art or of that delight in artistic ornament which characterizes it. Everywhere the monotonous Roman culture meets the eye. To pass from Glastonbury to Woodcuts is like passing from some old timbered village of Kent or Sussex to the uniform streets of a modern city suburb. Life at Woodcuts had, no doubt, its barbaric side. One writer who has discussed its character with a view to the present problem comments, with evident distaste, on ’dwellings connected with pits used as storage rooms, refuse sinks, and burial places’ and ‘corpses crouching in un-Roman positions’. The first feature is not without its parallels in modern countries and it was doubtless common in ancient Italy. The second would be more significant if such skeletons occupied all or even the majority of the graves in these villages. Neither feature really mars the broad result, that the material life was Roman. Perhaps the villagers knew little enough of the Roman civilization in its higher aspects. Perhaps they did not speak Latin fluently or habitually. They may well have counted among the less Romanized of the southern Britons. Yet round them too hung the heavy inevitable atmosphere of the Roman material civilization.

The facts which I have tried to set forth in the preceding paragraphs seem to me to possess more weight than is always allowed. Some writers, for instance M. Loth, speak as if the external environment of daily life, the furniture and decorations and architecture of our houses, or the clothes and buckles and brooches of our dress, bore no relation to the feelings and sentiments of those that used them. That is not a tenable proposition. The external fabric of life is not a negligible quantity but a real factor. On the one hand, it is hardly credible that an unromanized folk should adopt so much of Roman things as the British did, and yet remain uninfluenced. And it is equally incredible that, while it remained unromanized, it should either care or understand how to borrow all the externals of Roman life. The truth of this was clear to Tacitus in the days when the Romanization of Britain was proceeding. It may be recognized in the east or in Africa to-day. Even among the civilized nations of the present age the recent growth of stronger national feelings has been accompanied by a preference for home-products and home-manufactures and a distaste for foreign surroundings.