_c._ Less unfortunate with reference to religion were the pictorial arts at this date. The decoration of churches, in brilliant colour and appropriate iconography, was gradually carried to a degree of elaboration which has never since been surpassed. The intrinsic nature of popular devotion insensibly established the convention that images in the flat did not contravene the divine prohibitions; and ecclesiastical prejudice yielded to expediency. On the iconostasis and around the walls of the sacred edifice, in proximity to the worshippers, Christ, the Virgin, the Apostles, and the Saints, with many a scene of Gospel history, were depicted in glowing tints on a blue or a golden ground. On every available space of the ceiling similar subjects, but of larger dimensions, were executed in a brilliant glass mosaic, and the mass of colour overhead completed the gorgeous effect of the interior.[935] Accordantly it was considered that reverence for the holy scriptures was fittingly shown by the reproduction of copies in the most costly form; and hence the painting of manuscripts in miniature revived and endured as one of the staple industries of the age. But in all these cases defective drawing and perspective are often painfully conspicuous, and a meretricious display of colour seems to be regarded by the artist as the highest expression of his skill.[936]
_d._ By the end of the fifth century we are on the verge of that new era in literature, introduced by the Byzantines, when to make a transcript of some previous writer was to become an author.[937] In other branches of art from time to time some obvious merit becomes visible on the surface, but in the domain of poetry, during nearly fourteen centuries previous to the fall of the Empire, a single name only, that of Claudian, survives to remind us that both Greeks and Latins once possessed the faculty of expressing themselves in verse with nobility of thought and felicity of diction. Poetasters existed in abundance, but without exception their compositions exemplify the futility of striving after an object which in that age had resolved itself into the unattainable. The usefulness of prose as a medium of information, however low may be its literary level, often compensates us for lack of talent in an author; and the bald chronicler, who plagiarized his predecessors in the same field and presented their work as his own, is sometimes as welcome to the investigator as a writer of more ambitious aims. In these barren centuries, however, history and theology are occasionally illustrated by some work of original power.