Hence  it  is,  we  find  the  same  art  with
slight  local  differences  among  the  Goths
of  the  Crimea,  the  Lombards  in  Italy,
the  Bnrgnndians  in  Austria  and  Switzer-
land, the  Alemanni  on  the  Rhine,  the
Merovingians  in  Gaul,  the  Angles  and
Saxons  in  Britain,  the  Visigoths  in  Spain,
the  Vandals  in  Africa,  and  the  earlier
Scandinavians  in  Denmark  and  Scandi-
navia, thecioisonni  jewellery,  the  inter-
laced dragon  patterns,  etc,  all  of  which
have  such  a  common  likeness,  have  an
equally  common  likeness  with  the  work
which  we  can  trace  to  the  Queen  of  the
Bosphorus ;  and,  as  Lindinschmidt  was
never  tired  of  preaching,  there  is  no
Teutonic  art.  The  art  of  all  the  Teu-
tonic tribes  who  founded  the  modern
States  of  Europe  was  in  reality  the  art  of
Byzantium,  and  this  was  so  in  later  times
also.  The  art  of  the  Carlovingian  Em-
pire and  of  the  later  Anglo-Saxons  was
the  art  of  the  exarchate  of  Ravenna,  just
as  the  art  of  Southeastern  Europe,  as  pre-
served in  the  churches  of  Kief,  was  the
direct  daughter  of  Constantinople.  The
enamels,  the  bronze  work,  the  ivories,
the  illuminations  in  books,  the  jewellery,
etc ,  are  all  directly  traceable  to  the  same
opulent  mother.
But  it  was  among  the  Arabs  that  the
seeds  of  Byzantine  art  nourished  and
thrived  the  most.  The  Arabs  themselves
in  regard  to  art  were  always  a  sterile
race.  Like  their  own  sands,  they  do  not
seem  to  have  had  the  instinct  for  art;
but  they  had  the  instinct  of  government,
and  at  Bagdad,  at  Cairo,  and  at  Granada,
they  founded  communities  which  are  as
famous  as  any  in  the  world's  history.
