There may have been sporadic cases, though Constantine’s severe censure of all the cults of the past doubtlessly made it a daring act at that time to profess worship for old traditions in art. Collectomania very likely became a thing of the past. There must have been dealers in art and antiques, as we can gather from the Digest, and transactions between artists and clients, as can be seen from a clause of the Justinian laws, but nothing like there were in the ancient Roman world that had been dispersed by the new civilization. This clause Justinian was forced to add to a law on artistic property, as judges had so lost all sense of art appreciation that in a dispute between a painter and the man who had furnished the board on which the work was painted, they decided that the painting belonged to the one who owned the board. Justinian was forced to do justice by stating that if a quarrel arose between the artist and the one who furnished the board the owner of the work was the artist, as the value of the board could not be compared with the artistic one. “Think,” he concludes, “of comparing the value of the work of Apelles or Parrhasius with the price of a board of very small value.” The time for lovers of art, for private speculations and the all but consequent faking, and all the characteristic figures of an art market had disappeared. In the early medieval period there seems to have been no scope for faking and forgery. The collector, if the type then existing is entitled to the name, was like nothing that had been seen before or has since appeared. The objects treasured generally had more intrinsic value than real artistic merit. A collection represented a simple form of banking, a sound and good investment taking the place of what the French call “personal property.” With such views, goldsmiths’ work, studded and ornamented with precious stones, or rich embroideries in gold, naturally had the preference. Articles of virtu then had a solid value, and while suitable for princely display, could be turned into money at any moment. The craze for manuscripts, rare penmanship, and early illuminated parchments may represent an exception, but only, apparently, as such objects--apart from their rarity, skill and supreme patience in miniature work--were of such an established value as to be regarded like precious gems. The medieval collections of art and precious things give a true expression of those unsafe and uncertain times and were in harmony with the erratic career of the monarchs and potentates whose peculiar mode of life often necessitated the packing of the whole museum into a coffer and dragging it with them in their pilgrimages, wars, etc. This not only in some way explains the preference given to goldsmiths’ work but the fact that the dimensions of sculpture had to be reduced, and painting, when not for church decoration, was mostly restricted to miniatures, illumination, and designs for tapestries and embroideries.