I thought I'd add a concrete example of Roman anxiety about innovation, since you and poliphilo
both find it interesting. It's from a manual on architecture, written by a fellow named Vitruvius in the Augustan period (i.e. end of the first century BC / start of the first century AD), and relates to changes in fashion in domestic wall-paintings.
Vitruvius approvingly describes the old-fashioned styles of wall-painting, which at first involved painting imitation marble panels like this
, and later incorporated 'trompe l'oeil' architecture like this
, or images of myths and landscape scenery like this
. That's all fine, says Vitruvius, because they were basically painting things which could potentially exist in real life. But he's really uncomfortable about the latest fashion, which is to represent fantastical monsters and unrealistic architecture, e.g. like this
This is what he actually says about it:
"But such things never did, do, nor can exist in nature. These new fashions have so much prevailed, that for want of competent judges, true art is little esteemed. How is it possible for a reed to support a roof, or a candelabrum to bear a house with the ornaments on its roof, or a small and pliant stalk to carry a sitting figure; or, that half figures and flowers at the same time should spring out of roots and stalks? And yet the public, so far from discouraging these falsehoods, are delighted with them, not for a moment considering whether such things could exist. Hence the minds of the multitude, misled by improper judges, do not discern that which is founded on reason and the rules of propriety. No pictures should be tolerated but those established on the basis of truth; and although admirably painted, they should be immediately discarded, if they transgress the rules of propriety and perspicuity as respects the subject." (Full text here
He's a pretty dyed-in-the-wool traditionalist, and it's also obvious from his passage that the majority of people were very keen on the new, unrealistic style of paintings. But nonetheless, his kind of views are the ones most often expressed in elite literature.