Artwork of Migratory Peoples (about 500-1000 CE)

For centuries the borders of the Roman empire had been becoming more permeable. Rome had sometimes encouraged peaceful settlement of "barbarian" tribes in order to sustain its population, even while Roman military might attempted to secure its borders against the migratory movements of more aggressive groups. By the 4th century Rome found it more and more difficult to defend its borders. Once migratory peoples settled in various places in the Roman empire, their art exerted an influence. Once these peoples converted to Christianity, their values changed the nature of Christianity; likewise, they changed the character of Christian art.

	Jewelry
	Two fibulae* gold, 5th-6th century *A fibula is a kind of decorative safety pin used to fasten clothing. Anglo-Saxon shoulder clasp from the Sutton Hoo ship burial, 7th century Because these "barbarians" (so-called by the Romans) were migratory, their art is small and portable. Artifacts like jewelry, weapons, harnesses, and vessels survive; they probably created textile art as well but this kind of creation is perishable. They were skilled artisans, especially in metal, developing the technique of cloisonné; (in which small cells are filled with stones or enamel paste and then fired). The "animal" style (or zoomorphic style), which originated in Persia in the third millennium B. C., is characteristic of much of their art. That is, abstract, stylized animal motifs reoccur in their art. They also used interlace patterns, probably derived from knots and leather-work, and geometric patterns. They probably didn't practice painting and there was no tradition for depicting the human figure.
	Liturgical (i.e., for use in worship)
	Gourdon paten (Frankish) gold, 6th century Reliquary of Warnebertus copper gilt with inlays, 2nd half of 7th century Both of these are liturgical objects. The paten holds the bread at Communion and the reliquary is a container for relics (bones of saints, wood from Christ's cross, etc.) Note the similarity in style between these religious objects and the secular jewelry above.
	The Visitation and The Adoration of the Magi relief sculpture from the altar of S. Martino in Cividale del Friuli, Italy, about 745 (Lombard) These examples show clearly that migratory peoples had no tradition for depicting the human figure or for orienting figures in space. It is important, however, to remember that naturalistic illusionism is not an artistic value for them; the artists' primary concern is to convey the idea--what is called "conceptual" art. That is, the concept and meaning take precedence.
	San Pedro de la Nave Spain, end of 7th century (Visigothic)
	Although this is a small church, it demonstrates that migratory peoples learned the art of building permanent structures. The masonry is well done. In fact, this architecture makes a new contribution -- sculptural decoration of the capital -- which was to become very common in later medieval art. Capitals which have stories carved in them are called "historiated" capitals. Contrast this flat shallow relief sculpture, which is highly linear, with Roman (or classical) sculpture, which was more naturalistic with rounded, modeled forms. Still, medieval reliefs are decorative and effectively convey their idea or concept.
	Abraham and Isaac San Pedro de la Nave, Spain, end of 7th century (Visigothic)