The Germanic Invasions

How the history of art begins with the myth of the barbarian invasion—the romantic fragmentation of classical eternity. The history of art, argues Éric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood—and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of “races” and “peoples” rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity. This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups—denouncing or praising certain qualities as “Latin” or “Germanic.” Thus the predominance of linear elements was thought to betray a southern origin, and the “painterly” a Germanic or northern source. Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works—categorized, for example, as “African American,” “Latino,” or “Native American”—creates added value. The market displays the same competition among “races” that was present at the foundation of art history as a discipline.

In this book J.B. Bury gives a detailed historical review of the Migration Period, also known as Barbarian invasions in Mediterranean countries. It describes widespread process of migrations of the Germanic tribes and the Huns within or into the Europe during the decline of the Roman Empire.

Explains how the barbarian invasions of the Huns, the Alans, and the Goths from the east; the Vandals, the Sueves, and the Burgundians from the west; the Franks and the Lombards from the north; and the Vikings, Saxons, Pits and the Scots from the northwest all brought about the fall of the Roman Empire and laid the foundation for modern Europe.

Translation of: Geschichte der Kriegskunst im Rahmen der politischen Geschichte.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Veteran author Thomas J. Craughwell reveals the fascinating tales of how the barbarian rampages across Europe, North Africa, and Asia -- killing, plundering, and destroying whole kingdoms and empires -- actually created the modern nations of England, France, Russia, and China.

What caused the fall of the Roman Empire? The first reply that occurs to us is this: That the Romans were corrupt and enfeebled by corruption; the Barbarians, while rougher, were also stronger and less corrupt. When the latter had once crossed the Rhine and the Danube, their ultimate victory was assured; the Empire was bound to fall, new social conditions were bound to arise. But what had corrupted and weakened a people that had been for so many centuries a model of discipline, virtue, and strength - a people that had conquered the world? Its corruption was a consequence, not a cause, and was the first symptom of the decline that had already begun. The Empire that Livy had seen bending beneath the burden of its own greatness could not last for ever...