x] THE ANTIQUE IN MEDIAEVAL ART 351 known in western Europe, that of the Roman Empire. But Charlemagne did not ignore the elements of cul- ture and strength in his own peoples. He had the German poems collected and preserved. Neverthe- less, the literature of the time was Latin, and showed a distinct striving after antique metre and form. In fine, Charlemagne's struggle for a better culture and civilization could hardly avoid taking the form of an attempted revival of the antique. This was recognized by the Emperor and by those familiar with his policy. Eginhard writes that Charlemagne's ceaseless en- deavor was to restore the supremacy of Rome ; ^ like thoughts are prominent in the poetry of the period ; Aurea Roma interum renovata renascitur orbi.^ These ideas were probably vague and confused ; Egin- hard's Latin does not convey a clear meaning, and the poet's line expresses but a fancied ideal. Yet such thoughts reached their reality in the actual domi- nation of the antique in the literature and art of the ninth century. At this time the interiors of churches were covered with paintings, a custom coming from the antique Christian mosaic and fresco decoration. Charle- magne's Capitularies provide for the renovation of churches, including their decorations. The imperial decrees suggest an artistic activity, which, in fact, existed. The Emperor, however, expressed himself with no uncertain voice against the worship of images. Carolingian architecture consisted in the use and ex- » Vita Caroli, Cap. 27. s Na$onia Ecloga, Diimmler. Poet. Lat. Aev. Car., I, 385.
