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it 



■^ 



GUIDES AND HANDBOOKS, 

nXUSTBATITE OF THE CONTENfS OF !FHS CBI8T&L FAUCE:- 

1. GENERAL GUIDE-BOOK TO THE PALACE >• * 

ANDPABE. With xuunerons Illustratiotis. By Samvkl Philups . 1 

a. HANDBOOK TO TMB EGYPTIAN COUET. 

With lUustrationa. By Owek JoHssaodSAMusL Brabfb. .06 

3. HANDBOOK TO THE GREEK COUHT. With 

IlltistratlonB. By Oxobos Bchabf. Jim. '8 

4. HANDBOOK TO THE BOM AN COUET. With 

Illustrations. By Geobox dcBAsr, Jon. . • . . . .06 

6. HANDBOOK TO THE ALHAMBEA COXJRT. 

With lUostrationa. By Owm Jones A 

6. HANDBOOK TO THE NINEVEH COURT. 

With lUuBtrationB. By A. H. Layard, M.P. 6 

7. HANDB00;K jo THE BYZANTINE COURT. 

With iHiifltrationa. By M. Digby Wyatt and J. B. Wabu(o . .08 

8. HANDBOOK TO THE MEDIEVAL COURT. 

With Illnstnitions. By X. Dioby Wyatt and J. B. Wabino . ..Oft 

9. HANDBOOK TO THE RENAISSANCE COURT. 

With lllustratiottfl. By V. Bmibt Wyat« and J. B. Wabiko . .08 

10. HANDBOOK TO THE TTALIAN COURT. Wtti 

Illustrations. By M. Dioby Wyatt and J. R Wabiko . . .06 

11. HANDBOOK TO THE POMPEIAN COURT. 

With IllustrationB. By GfeOBOE Schabt, Jun .06 

12. HANDBOOK TO THE SCHOOLS OF MODERN 

SCULPTURE. By Mbs. Jamxsok . ... . . . .06 

13. AN APOLOGY FOR THE COLOURING OF 

T?E GREEK COURT IN THE CRYSTAL PALACE. Qy OwxK 

JOKUS 6 

14. HOW TO SEE THE SCULPTXTRE IN THE 

CRYSTAL PALACE. By RAFrASLE 3f omti. . (Jn the Prut.) 

15. THE PORTRAIT GALLERY OF THE CRYS- 

TAL PALACE. Described by Baxukl Philufs 16 

16. HANDBOOK TO THE ETHNOLOGICAL AND 

ZOOLOGICAL DEPARTMENTS. With Illuctratioiw. By Pbofbs- 
BOB Edwabd Fobbxs and Db. Latham. (/n the Freu,) 

17. THE EXTINCT ANIMALS AND GEOLOGICAL 

ILLUSTRATIONS DESCRIBED. With Plan and Drawings. By 
pBOFsasoR Owen 6 

18. THE CRYSTAL PALACE INDUSTRIAL DI- 

RECTORY 08 

The Proprietors reserve to themselves the right of enUhorisvnff a 

TranslcUion of the above works. 

1 '■ ■ ^. ' ' 



/ 



20 




^ } I 



t « 



18 



19 



16 



IRISH 






VE STIBULE 




pi 





« etc rap i.icr. 

foicme do 

dc 

'ir 

do 

i Gineniie dc 

■ trom HerjlPitdch, 

Dcrviln B<i5 relieJ" over from. rtichescBi 
5 IT PmriseT cxjihelliiie 
firm MaveD'^e mth. Antsbursh i,. --r 
i CloLsierfixiln S JdhnLateran 
ii Gelnlianren :irc?.:ie over 
ividj Hildeshcun dcorb 
rtoor ;>']>h Bas relief over 'or>rr\ 

5 aj, ported 'l:>7 BoioiOF corbpllm^ 
rhancel Ardi 
Door 
Kk%id^i;*N^ trii troiaTrCimCarJbedral 

^.•^^riplel iron I'Tjam 

ChuTcli door wirb. Koumd wuRdc>\' 
^ KahdTi Cliurcli 

> Riirrispf'pTi 
.P.jorrisey 
rout 



BYZANTINE AND ROMANESQUE 
COURT 



CBYSTAL PAIAOE LIBE4EY ; 



BKAVBVBT AND KVAn*, 

raiKTRttl TO TUK CRYSTAL rALACS COMrAXT, 

WBRBVBXAB8. 



CONTENTS. 



PAGE 
GENEBAL REMARKS 7 

HISTORICAL SKETCH OF BTZANTINE ART 10 

SECTIONAL STYLES 20 

POLTCHROMATIO DECORATION 29 

EFFIGIES OUTSIDE THE BTZANTINE COURT 46 

THE BYZANTINE COURT 53 

THE CLOISTERS 59 

INTERIOR OF THE COyRT . . . . . . . . 63 

GALLERY— IRISH CROSSES .07 

COURT OF CHRISTIAN ART MONUMENTS .111 



B 2 






^n^ 



NOTICE. 

The Byzantine Gourfc has been designed and arranged by 
Mr. M. Digby Wyatt, with Mr. C. Fowler, Jun., as chief 
superintendent, and Mr. Thomas Hill, draughtsman. 

The construction generally was done by Messrs. Fox, 
Henderson and Co., the ornamental portions by Mr. Cundy. 

The pavement of the Cloister was presented to the Crystal 
Palace Company by Messrs. Maw, of Benthall, Shropshire. 
The pavement of the Court, in metallic lava, was executed by 
Orsi and Armani, the designs being principally founded on 
examples in Messrs. "Waring and Macquoid's " Architectural 
Art in Italy and Spain." 

The full-size drawings were made out for it, and its execution 
was superintended by Mr. Thomas Hill. 

The restorations of the Kilpeck and Shobden doors have 
been executed by Mr. "W. Jennings, of Hereford, the painted 
decorations being by Mr. Moone, of London, from designs of 
Mr. Wyatt's, based on the illustrations given in the valuable 
works of Mr. Lewis on those churches. 

The escutcheons of the Eoyal Screen, under Mr. "Wyatt's 
charge, have also been painted by Mr. Moone. 

The polychromy has been cleverly and conscientiously 
executed by Mr. Beensen, of London, from designs by Mr. 
Wyatt, founded for the most part on studies made by 



6 NOTICE. 

him in Italy and Sicily ; the most miportant of which have 
been engraved in his work on the " Oeometrical Mosaics of 
the Middle Ages ; " the working out and superintendence of 
the above decorations have been confided to Mr. R. P. Pullan, 
by whom some of the principal subjects have also been painted. 

The largo fountain was executed by Mr. Eedfem, of Ashford, 
Derbyshire, in marble from the quarries of his Q-race the 
Duke of Devonshire. 

T^e Knights Templar have been reproduced under the 
superintendence of Mr. Richardson, the seulptor, who so ably 
restored the original monuments. 

The painted ceiling from Assisi, in the gallery, is by 
Mr. R. J. Clayton, of London. 

The cloister of St. John Lateran was cast, and its mosaics 
executed, under the superintendence of Dr. Emil Braun, of 
Rome. 

The Irish casts, for the possession of which the Company- 
is indebted to the authorities of the Q-reat Irish Exhibition, 
have been carefully re-erected by Mr. Jones, in the employ of* 
tbe well-known sculptor of the same name. 



THE 

BYZANTINE AND KOMANESQUjE 

COURT. 



GENERAL REMAKES. 



It is on]^ within tlie present oentnry that the style 
of ardtutectme^ many of the most intezesting monuments 
of which ace exhibited in the Byzantine Court, has 
received that amount of study to which it is certainly 
entitled, both iram. the peculiar position which it occupies, 
as a link between the classic and Gothic atyles, and froim. 
its own inherent merit. Without the aid of such an The Byzan- 
inyestigation, not only do the mediaeval and antique y^ be^iS^en 
styles of architecture appear to have no affinity for each the Roman 
other, but they may even be looked upon as symbolic of 
two antagonistic states of social existence. But as all 
science informs us of the mutual dependence of every* 
thing on earth, whether in the primary creations of the 
Deity, or the secondary creations of man, so, in this case, 
A well-directed i^uit of inquiry has revealed to us a 
kindred law of relation. Thus the most superficial 
examination caainot but reveal to t^ student how 
Boman architecture — ^itself an o£Espriag of Greece — ^was menf from^ 
gradually transfioxmed by suocessive changes into the the Roman 
Byzantine style, which in its turn varying with the ^ 
course of ages, and undeigoing modifications' according 
to tiie means, the disposition, and neeeasities of the 
people who adopted it, resolved itself into two remarkable 
phases, in the Lombard and Nozman styles ; from which 
again sprang, as a necessary consequence, when we 
consider the climate, character, and creed of those 
artists who shi4[>ed its progress, that which must be 



8 THE BYZANTINE AND BOMANESQUE COURT. 

regarded as one of the most magnificent proo& of man'» 
power over dull matter, which time has bequeathed to U6> 
— ^the Pointed system of architecture. 
The oonnee- Thus then we perceive, that in architecture, as in 
all ntjiom?^^ <dl other works of creation, there is no gap ; and were 
our means of gaining a knowledge of all the architec- 
tural works ever produced, but microscopic, we should 
doubtless be enabled to supply the series of links wanting 
to connect all styles ; and hence the very apparent 
opposition existing between one ancient system — ^the 
Boman — and another — the Gothic— only renders more 
interesting the Byzantine style, which, with its offshoots^ 
served to connect the two. 
Effect of the Great as may be the power possessed by the prineipal 
^li ^^" examples of the two former styles, to excite and elevate 
churches, the imagination of the beholder, few who have visited 
the religious monuments of Venice and of Sicily — ^tho 
triiuuphs of the chief masters of the Byzantine— have 
failed to be overcome by deep emotion at their majesty 
and richness — ^the largeness of their well-arranged masses 
— the depth of their mysterious shadows — and the 
brilliant effect of their burnished lights. There is a 
religious solemnity about them, which produces a 
consonant effect upon the spirit, — and by no works of 
man's hands are the chords of his heart tuned to senti- 
ments of devotion, at once more profound and more 
exalted. 
Power of as- Such facts alone are sufficient to lend a peculiar 
ideli* ^**° ®^ interest to the study of this style — a study which it is 
impossible to disconnect from the history of the times, 
and the men whose age it illustrates. It is the eyrie-like 
castle of the Rhine which gives vitality to the old robber 
knight. It is in the noble palaces of Italy that we learn 
to appreciate the ancient Italian aristocracy. It is in tho 
Gothic cathedral that we best comprehend the power of 
the medisBval Church over the senses and imagination, 
in Roman- In such associations of idea the Romanesque monu- 
rnenu.™^""' ments yield in interest to none. They are vestiges of an 
age singularly troubled and romantic, and are tinged, as 
it were, with the light of two suns— on one side by 
the setting sun of an old world ; on the other, by the 
earliest gleams of a new day dawning on a new people 



GENERAL REMARKS. 9 

and a new life. Fiction itself could devise nothing 
more strange than the incidents which many of these 
monuments witnessed. 

At the close of the tenth century, all Europe was Historical 
scared with a firm belief in the approaching end of the Smwmiiy* 
world ; and the troubles of the times somewhat warranted with the 
such a belief. The Northmen terrified the nations by of the style, 
inroads, the path of which was marked with the most 
ruthless destruction. Antichrist, in the form of Mahomet- 
anism, caused all Europe to tremble for its freedom. 
Fearful signs were seen in the heavens, and Home, the 
centre of western civilisation, had become a nest of 
robbers. Everywhere, after the death of Charlemagne, 
strife and violence were prevalent, and brute force was 
recognised as the only law. In the midst of this 
commotion, that once mighty monarch passed from its 
turbulence, and in the crypt of his famous church at 
Aix-la-Chapelle, royally robed and crowned, sceptred and 
enthroned, his good sword Joyeuse by his side, and the 
Bible on his knees, he was set to await, with the dull 
stare of a waxen image, the approaching advent of the 
Judgment Day. 

Of such times is this style the exponent, and by 
it is our attention drawn to the rise and progress of 
commercial, yet stately Venice, the strange history of 
the Normans in France and England, and their still 
stranger history in Apidia and Sicily, the internecine 
strife of the armed bishops in Germany, the prolonged 
struggle of the German emperors for dominion in Italy, 
the mighty movement of the first crusades, the successful 
extension of the Italian republics in spite of despotic 
opposition, and the stubborn resistance of the northern 
Spaniards to Arab invasion. 

Such are some of the main historical features connected 
with a study of this style, which can scarcely be ftdly 
understood, without also an investigation into the com- 
merce, the social life, and the differences of religious 
creed, during the earlier centuries of the Christian era ; 
a desire for such knowledge, it is to be hoped, the 
examples collected in the Crystal Palace will excite, 
and in its prosecution and realisation they will doubtless 
form important aids. 



10 



THE BYZANTiNS AKD BOHANBSQUE COURT. 



Into such details it would be of courie impossible to 
askUv in bo brief a treatise as the present ; but, as wa 
conceive some slight knowledge of their historical 
fioaditioas is essantisl to even an approximately just 
estimate of all reliques of the genius of the past, — before 
prooeedixig to a description of the monuments of the 
Byzantine Oourt^ we shall lay before the reader the 
following 



Conitantlne 
tiie founder 
of the By- 
zantine 
empire. 



Epoclis of 
the stylo. 

The first. 
The second. 

The tliird. 



The second 
most Influen- 
tial. 



HISTORY. 

"When CoDstantine, the first Christif^n Emperor of the 
Koman race, removed the seat of empire from Rome to 
Byzantium (as Constantmople was up to that period 
called) about the year of our era 330, he carried with 
him the arts of the former empire, such as they were 
(being then in a very declining state), and applied them 
to the enlargement and decoration of the new city. 
Thence arose that combination of Bioman, Greek, and 
Oriental traditions, which distinguished the Byzantine 
style, and which was extended correlatively with the 
power and influence of the eastern empire. 

The history of Byzantine art, properly so called, may 
be divided into three epochs : 

The first, from the time of Constantine, to the middle 
of the sixth century, of which few examples remain : 

The second, from the time of Justinian, to the 
eleventh centxiry, to which period most of the existing 
Byzantine monuments belong : 

And the third, from the eleventh century, to the final 
conquest of Greece by the Turks, in the fifteenth century, 
during which period, an European, and more especially 
a Venetian influence is visible, both in arrangement and 
style. 

The first and third epochs were more local in their 
influence ; and it is the second, the monuments of which 
afiected not only the styles adopted in Italy, France, 
Germany, and Great Britain, but penetrated widely 
among the Sclavonic and Oriental races, and was carried 
by the conquering Arabs throu^ all the north of Africa, 
and the greater portion of Spain. 

As we have just remarked, few, if any, complete and 



HISTORY OP BYZANTINE ABT. fljl 

jMithentic examples of the fisst period have come down to 
UB,* and tke earliest as well as the greatest example of EaiiiMt 
the Byzantine school is to be. fonnd in the Mosque <rf Se sijie!^ 
8^^ Sophia, at Constantinople. The esection of tiiis oele- 
brated building is due ta Justinian, who aseended the 
throike in 527. In the fiffch year of his reign its oon- 
structi(» was confided to the Greek architects, AnthemioB 
of Tralles, and Isidore of Miletus ; and under their 
auspices the entire design was oonslaructed, wiidi its great 
dome 115 feet in diameter, and 180 feet at its higheBt 
point above the level of ihe panrement.t An earthquake 
injured it in the twentieth year of Justinian's r^gn ; 
and the church as it now exists was not completed until 
the year 548, when JiLstinian cdebrated its second 
dedication. 

Contemporary with the erection of S^^ Sophia was that 
of San Yitale at Bavenna, the capital of the Exarchate — 
founded by the piety of Jidian, the treasurer of Justinian, 
about the year 530 — a very perfect example of the style 
of the century, and especially interesting as having been 
ihe model on which Charlemagne caused his- cathedral at 
Aix-la-Chapelle, to be built. After the death of Justinian, 
religious strifs materially affected the proi^rity of the 
arts in Greece, and two Emperors, Leo the Isaurian, J^ti?plsr^ 
and Constantino Copronynms, ranging themselves on the secution ; 
side of the Iconoclasts, despoiled the churches of their 
ornaments and discouraged that excessive love of display 
which characterised the style and the people, — driving 
out over the continent of Europe a multitude of artists, 
who propagated the very styles of ornamentation it was 
the aim of the despots to destroy, in districts where, but **" wsuit 
for their persecution, they might never have obtained root. 

The Emperois Theophilus, and BasU the Macedonian, ^^gf^^ff 
encouraged the application of the arts, not for ecclesi- Byzantine 
astical purposes alone ; and under Leo YI. , and Constantiae ^ ' 
Porphyrogeuitus, the Byzantine school was in full vigour. 

• 

* The Golden Grate and tiie Ddme of the Roek, or the Mosqne 
cf Omar at Jerusalem, have been ascribed to this earlier period : 
«ee Fergnsson's "Jerusalem." 

i* It is singular to remark how exactiy its section eorresponds 
witii tfaat of the great tranaqpt of the Crystal Palace, under which 
it woald.juaft pass. 



18 



THS BTZANTINB AND BOMANESQUB COUBT. 



Its 6wBClmi 
the Armb 



on litij, — 



tmFnxnot, 



Gennanj, 



GrMco* 



und Asia 
Hioor; 



iU decline 
in tlie 
eleventh 
century; 



I>aring this epoch Greek artists were very generally 
employed in foreign countries ; and the Arabs based 
upon it a style of their own, remarkable for its ori- 
ginality and splendour. In the tenth century we find 
great activity prevailing in the arts. Greek artists were 
everywhere welcome. Venice in the north, and Monte 
Gassino in the south of Italy, equally applied to them 
for aid. In Rome the fugitives firom Byzantium were 
received into an establishment known as the "Scuola 
Greca," founded for them by Pope Adrian L, and 
attached to the church of S^ Maria in Cosmedino. la 
Sicily they were at home. In France their style was 
spread and their monuments copied through the influence 
of a Venetian colony, at Perigueux, and subsequently at 
Limoges, in the former of which places, the old church, 
of St. Front is closely designed on that of St. Mark's, 
at Venice ; and a passage in the life of St. Meinwerc 
proves the employment of Greek artists at Paderbom, in 
Germany, in the year 1015. In that country, indeed, 
the influence of the Byzantine school is seen more strongly 
than in any Cisajpine land. At an early period, under 
Charlemagne, artists fix>m Constantinople, and their pro- 
ductions, were in the highest fetvour ; and in the tenth 
century, Theophania, daughter of the Greek Emperor, 
Bomanus n., mother of Otho m., and Regent during 
his minority, naturally encouraged the artists of her 
native country. Greece itself possesses many monu- 
ments of this period, such as the interesting churches of 
Panagia Lycodimo, and the Taxiarch, at Athens. Of 
the last-named we give the flank elevation, as being 
characterised by a peculiar Byzantine character, and 
especially remarkable for its multangular apse and dome ; 
similar examples to which latter are not unfrequent in 
the Rhenish churches. 

The spread of its influence is equally visible in Asia 
Minor, in Armenia, in the Caucasian provinces, and 
among all the Sclavonic races ; among whom, at the 
present day, its style is the foundation of all national art 

From the eleventh century, however, the influence of 
Byzantium was on the decline. Continued wars drained 
the resources of the state ; and the inroads of the 
Persians, the Arabs^ and the Seljoukid Turks affected her 



BISTOBT OF BTZAKTINB ABT. 

territory and her power. At the dose of the eleventh, 

and during the Hucceeding centuries, ahe suffered equally 



FUak ElenUoQ ofths Cbuicli or the Tailorcb, AUwng. 

from doubtful friends and open foea. In the thirteenth iti gndui 
century, the nations who had received from her the ti^rtoenih 
elements of their civilisation, had far outstripped their wnW)'- 
effete instructreEis, in art, in intelligence, and in power. 
The city in which Christianity received its first established 
recognition, was mercileBsly pillaged by the Cbristian 
Venetians, and French, in the year 1204 ; and the 
Empire itself, or the little of it which retained that title, 
in epite of the last and laudable efforts of the Comneni 
family in the twelfth century, fell into a state of insig' 
niffcance and decay, which rendered it an eaay conquest F[m1ot«<- 
to the victorious arms of Mahomet EI., who, in the year i,JUI^m^ '" 
1453, made Constantinople his residence, and converted *.°A*^3. 
the church of St. Sophia into his principal mosque. 

Among the Sclavonic, Arab, and Oreek races, the ^^^'["^j 
Syzanttne style was the foundation of all art, and is still imDait tha 
its primary element. As an example of the wide-spread ^ti^ 



THE BYIARTWB AIH> iOUAKBajUK COUST. 

mfhmiee of the et^e, we mbjoin « vitrw ot ibe tHamh of 
Dighonr in Aimeni*, in whiciL a chftntctor not inde)]' 
dilfering from that of the EWopean Bomanesqne churches 
may kIbo bo reruatked ; but in Burope generally this is not 



Chureli of DiaUojr, Anacnia. 

the owe. Bxamplea of pni^y Byzantine art are firw 
Mid isolat«d, although in many, perhaps in most moim- 
ntenta bnilt during the premleaice of its fimMon, a 
Byzantine ohaiacter is oasily discernible. 

To account for this, it in nectssat? to notice the state 
of European art during that period. Without entering 
into those particulim wherein the churches of Byeantimn 
and Kome differed, we may remark tilat, ever jealous of 
each other'a power, conttnual dtsputea arose between 

. them, which led to theii final definite separation, and 
the establiahmeut of their reepeetiye claims to sacerdotal 

' snpremaq' in the eightii century, when Oratory n. 
formally excommunicated all iconocksts, including the 
Emperor Leo IK. himaelf, in the year 726. . 



HISTORY OF BTZAl^'RIKE ART. t5 

These differeheeB had been maiked &om the earlieEd' 
period in the arrai^meiit of their churches. The Greek 
CZ088 inscribed within a sqimDe, and stxrmonnted by one types!of kn» 
laxge cupohi, and four smaller angle ones, as a type of adopted by 
form, made no advance in Borne, which had adopted the charehes. 



tnt^tion of the old heaijien basilica,-—^ simple olidong, 
divided by columns into three aisles, and terminating 
with a semicircular central leceqs, known as an *^ Absis.'' 

As the influence of Rome in matters of faith increased influence of 
among the new nations, so this particular arrangement western 
patronised by her, with some modifications, prevailed Europe, 
akso ; and in the carrying out, in the various countries 
imder her sway, of structures based upon this design, so 
different to that of the Eastern Church, the old Boman 
monuments, still existing more or less plentifully through- 
out Europe, either served as objects of imitation, or were 
actually applied. 

But it was impossible to escape the influence of Con- Junthiopic"* 
stantinople, at least commercially. From the sixth to 
the tenth, centuries, during which period the Greeks 
were indeed " arbitri elegantiarum," numerous works especially in 
of ornamental art, such as richly woven and embroidered omameutai 
stufls, wood and ivory carvings, ornaments in the base 
and precious metals, enriched with damascene work, and 
enamels, illuminated manuscripts, and paintings on panel, 
were carried by traders, and bought by the clergy and 
others, throughout Europe ; and it is from these combined 
influences that the Romanesque style sprung. 

As before refiiarked, Rome continued attached to the Earliest 
plain basilica, and to a style which was not far removed chr^titm ^ 
from purely Roman traditions. The earliest examples, "* •* Rome, 
treated in such a spirit, are the churches of S^ Sabina, 
of the fifth century ; of St. Agnese and San Lorenzo 
(outside the walls), of the sixth and seventh centuries ; 
and a numerous series in the ninth century ; through which* 
the orthodox plan was continued, even to the period of 
the late Romanesque. 

But in the north of Italy, the spirit of change was and in 
workhig strongly. From shortly after the death of-u^Jy" 
Theodoric the Ostrogoth, in the year 526, after a glorious 
reign of thirty-three years, up to the conquest of Italy, 
by Chademagne, in 774, the kingdom of Italy (with the 



Northern 



10 THE BYZAKTINB AND fiOMANBSQUE COURT. 



exception of the Exarchate of Bavenna) was held by 

aoyereigns of the Lombaid race. Gibbon and Siamondi 

^IJJJ^^ bear witness to the civilisation of this remarkable people, 

who, it is generally admitted, originated a style which. 

has been called ^' Lombard" in their honow. It would 

appear that in matters of art they regarded Byzantium 

rather than Borne, and that their artists were in no 

slight measure affected by the neighbouring monuments 

of Bavenna. 

tirairear- The earliest buildings attributed to them are the 

liest woriu ; c]xurche8 of San Frediano, and San Michele, at Lucca ; 

and of San Michele, and San Pietro Cielo d'Oio, at Pavia, 

the date of which is referred to the seventh and eighth 

centuries. St. Ambrogio, at Milan, is ascribed to the 

ninth century, but by some antiquaries to a much later 

ibeir style P^od* Charlemagne, we may observe, who put an end 

prtn«^*jj7 to the dynasty of the Lombards in the year 774, 

chu-ie- adopted, in a great measure, if not entirely, their style 

magne. ^f building j and naturalised it, in connection with 

Byzantine models, at Aix-la^Chapelle, and along the 

banks of the Bhine. 

In the tenth century, architecture would not appear 
to have been very active in Italy, if we except Genoa and 
Venice, maritime states which escaped in a great measure 
the general strife, and in the last-named of which 
influence At Byzantine architecture, already introduced in the churches 
Veuioe. of Torcello and Murano, was adopted as the style of 
the new cathedral, erected at the close of the tenth 
century. 
Kxtension of Lombard architecture survived the dynasty under 
BtyieXrfni? ^^^^""^ i* ^^ ^®^ matured, and after the conclusion of 
the eleventh the struggle between the imited powers of the popes and 
century, ^j^ nascent municipaUties, against the German emperors, 
during the eleventh and twelfth centuries, received an 
increased extension, 
ftt Fisa. Foremost in this progress stands Pisa, which in the 

year 1063 founded a group of ecclesiastical buildings, 
affording an important landmark in the history of art, 
and exhibiting a singular illustration of local influence* 
acting on foreign artists, in the persons of Buschettus 
and Bonannus — Greeks — ^in whose compositions a depar- 
ture from Byzantine tradition is clearly discernible. 



HISTORY OP BYZAKTINE AET. 17 

: Laoca followed closely on her steps, and in the same lucca tnd 
iltyle. Nor was Florence far beliind ; and in the thir- other citi«*». 
teenth century, Siena, Parma, Modena, Piacenza, 
Ferrara, and Cremona, produced noble specimens of the 
rapidly advancing Romanesque school At Rome alone, 

•I T J.* X i*x« •! J XI. X* Boiik6 almost 

where Latin traditions prevailed, was there comparative stotionary. 
sluggishness, in imitating the style, and activity, of the 
surrounding repubHcs. 

If from the north and centre of Italy we turn our Important 
attention to the south, an equally important change, somSen? 
founded on another element, had been for some time at Jt»Jy effected 
work. ' 

The Normans, who in the eleventh century had become JJJng^^'^ 
masters of Apulia, and in the twelfth century of Sicily, 
impressed on Lombard forms, and Byzantine details, a 
character peculiar to themselves. On the main land 
their buildings followed the Lombard type, but in Sicily, their 
the skill of the native Saracenic workmen, whose practice "^deis. 
was founded on Greek theoiy, together with the pointed 
arch, of common occurrence in the Saracenic buildings, 
were appropriated by them. Artists, sought for directly v ««« . 
from Constantinople, were also in much favour, and the ence. 
churdi of Monreale, commenced in the year 1174,' Is 
in a great measure purely Byzantine. 

We may here observe, that from the systematic adop- The pointed 
tion of the Saracenic pointed arch by the Normans in 
Sicily, has been pretty clearly traced its transmission and 
application by their brethren in France and England. 

In the year 800 Charlemagne was crowned Emperor of 
the West at Home ; and in his new buildings on the 
banks of the Bhine he naturalised the Lombard and Lombard 
Byzantine styles. His cathedral of Aix-la-ChapeUe was ""^ ??^*"" 
professedly imitated from the church of San Vitale at transplanted 
Bavenna, and served, in turn, as a model for the through '^"^ 
original cathedral of Cologne, the mother church of the ^^J". 
cathedrals of Mayence, Worms, and Spires. An example 
of the style, said to have been transplanted &om 
Lombardy into the Bhenish provinces, is to be seen in 
the accompanying sketch of a church apse at Nimeguen, 
which, although very early as regards its style,* is 
generally attributed to the time of Frederick Barbarossa. 
These important buildings arose in the first half of the 





U THE BTUNTINB AND B01UNB8QUE OOITBT. 

lu divalcpv- eleventh oe&tuiy, And were tte fouiid«tioB of a Qtaima 
'''*'''<~ BoBwneiqua rtyle, in whiob a Bywmtiae cliaiaotar. 



ApH of a Ckureh mt Nlnn^iiHi' 

eipeoiallj' in tbe ornament, la at timea iitrongly markedj 
and of wliioh the churches of Cologne, St. Aposteln, 
St, Illartiii, ibc., are good typea. In the same city the 
church of S. H. in Capitolo claims high antiqiuty, and 
would appear to have been completed prior to 1060. 

Tbia style found great iavour in the Bhine districta, 

fVom which the leading features of the B3r2aiitinfi Court 

have been derived, and the churches of I^ach, Siuxig, 

It ii dis- Boppatt, and a long list of others, foreabadow its florid 

JhtpBinMa epoch, when the Early Pointed atyle waa on the point of 

»yi*. displacing it. 

Earir ar* <n Saiony waa another centre of radiation, the influence 
Sunny; ^f which had an early effect in northern and central 
Germany ; and under the fostering care of the Saxon line 
of kings, commenciDg with Otho the Great, in 962, . 
aidutecture would appear to have been much entwunged. 
ItsduncMr, In these hoildin^ a ron^ imitation of antique^ forms 
13 veiy common, and instead of tlte domed churches of 
tihe Bhine, we And the Itoman ^MMtlii^jy the leading ide& 
The eariiest existing examples are the cborches of. 
Quedlinburg, Groningen, and Gemrode — in the tenth 
century. Various modifications of this ayst^n aie to be 



HISTOBT OF BYZANTOlffB ABT. M 

found in Saxony, Thuringia, and Franoonia, in whid& and late 
the more complex system of the western proTinoes, with "modification, 
its domes and yanlted roofs, is found in ocnnbination with 
the simpler elements to which we have alluded. 

In France the Romanesque style presents two develope- '*^°**"' 
ments, that in the south being founded more upon the formatire 
numerous Boman remains which are to be found there, ^^^^^^^ • 
influenced by an early and constant intercourse with 
Tenice and the East ; and in some districts, as in the 
old department of Auyergne, by a volcanic soil, similar 
to that of Southern Italy. The greater number of these extension of 
buildings belong to the twelfth and thirteenth centuries, ***® ^^^^ 
and their influence extended into the north of Spain, 
and the southern districts of Alsace. 

In the north and west of France, the comparative ^®r'i5"l 
absence of these causes led to a freer developement of France, 
individual character. The principal examples of this class 
are to be found in Normandy, and bear an original 
impress, which in a great measure justifles the general 
name of " Norman " by which they are known in '^^^ Nor- 
^England, where that psurticular style was introduced by individa> 
-the Normans. Biuldings of a similar character, ascribed to ^^^' 
the early part of the eleventh century, still exist at Paris 
and Chartres, &c, but the earliest and most important 
authentic examples occur at Oaen, about the middle of Hhe ^ ^^ ^^ 
«Ieventh century ; and by the twelfth century, the style style' in the 
therein exhibited became general throughout the north JjJSj^?* "•"^ 
of France, and with veiy alight modiflcations in England its modifi- 

•1 • w. « cations in 

also. England, 

In the last-named country, the Norman Bomanesque 
style exhibits itself in numerous and rich monuments, 
of a more decorated character than their Norman French 
types : and in some cases, as at Shobden, and Kilpeck, 
evident traces are to be recognised of the influence 
exerted by the Celtic school of ornament, which flourished t^enative^^ 
vigorously in Ireland, Scotland, Wales, and North Britain, style. 
in the seventh, eightii, and following centuries, and was 
zealously cultivated by the monks of Glastonbury. But 
although few countries can show a more numerous and 
ornamental dass of Romanesque buildings ^h ff^ ^^g}v^*^f 
«till, so rapid wsa the movement of progress at that 
period, that the middle of the twelfth century witnessed 

2 



20 THB BTZAKTINB AND EOMANESQUE OOIJBT. 

tlie introduciion of the Pointed arch, and the oommenoe*^ 

ment of the thirteenth, a rapid progrefls towards the 

Pointed style of architecture. 
Advanco to In Scandinavia the earlier monmnents exhibit a striking 
style ^ coincidence with the Irish and Anglo-Saxon decorative 

features ; while the later ones appear to have been founded 
intheScandi- on German models, and especially subject to an influence 
nay ian lands. ppQoeeding from the Pomeranian coast ; between which 

part of Germany, and Denmark, an intimate intercourse 

was carried on, in the early part of the thirteenth 

century. 
General Shortly after this period the Pointed style became 

the^Poiii^ more general, and the close of the thirteenth century 
style. witnessed the general disuse of the leading Bomanesque 

features in all the Cisalpine countries. 



SECTIONAL STYLES. 

The Byzan- Having thus briefly traced the history of Byzantine 
tine style. ^^^^ Bomanesque architecture, we will proceed to give a 

succinct account of their general characteristics, 
zantine ^' ^ *^® Byzantine style the general arrangement oi 
churches : the churches is that of a Greek cross, inscribed within a 
square, with four central piers supporting a large hemi- 
spherical dome, the arms of the cross being surmoimted 
genoral cha- by four smaller cupolas. The column, generally founded 
lao r C9. ^^ Boman proportions, occurs constantly, surmounted by 
a cushion-shaped capital, from which spring immediately, 
arches, usually of semicircular form, but at times stilted, 
segmiental, and horse-shoe. All openings are arched, and 
the masonry is marked by alternate courses of brick and 
stone. The doors have usually a straight lintel carried 
from side to side beneath the semicircular head ; the 
intervening space being often ornamented with pierced 
stone-work. The mouldings are of a bold projection, 
but few in number, the edges being rounded off, and 
frequently worked with foliage in low relief, l^e flat 
intervening bands are at times ornamented with the 
.beautiful glass mosaic peculiar to the style. An impor- 
tant feature, and one of the characteristics of the 
Bomanesque style, is the occiirrence of the arched 
.window, subdivided by a small central column, into two 



SECTIONAL STYLES. 

smaller arched openings, as seen at San Yitale. Hie 
accompanying example, from the second tier of arcades 
at the catiiedral of Aiz-la-Chapelle, founded by Oharle-. 
magne in direct imitation of St. Yitale, is an interesting 
instance of its earliest appearance in the Korth. 



» 




Window from the old Church of Aix-Ia-Chapelle. 

Bricks placed on edge so as to form a tooth-like ornament 
are not tmcommon. The foliage is founded on ancient Greek 
Greek, rather than on Boman traditions, and is charao- [muated : 
terised by a peculiarly sharp outline. All ornamental 
sculpture is in. comparatively low reUef, and the absence 
of human and other figures is very marked. Enrich- 
ments were almost invariably so carved, by sinking 
portions only of the surfaces, and leaving the arrisses and 
principal planes imtouched, as to preserve the original . 

constructive forms given by the mason. The employment Moiptare. « 
of the drill, instead of the chisel, so c(»nmon in debased 
Roman work, was retained as a very general practice by 
the Greek carvers, and very often with excellent effect. 
The foliage of the acanthus, although imitated from the 
antique, quite changed its character, becoming more 
geometrical and conventional in its form. But that 
which, equally with their peculiar arrangement, distin- 
guishes the churches of the Byzantine school, is the 
profuse and splendid display they present of mosaic work. ^^^^ ^^ ^^ 
Of this, the use was so universal, and the varieties so sale work. 
marked, that we shall describe them specially under the 
head of Polychromatic decoration. 

Generally, we may observe that the rectangular connec- Affection for 
lion of lines and masses, and the horizontal sky line, ^^^ 
common in Boman architecture, disappear ; everything 
affecte a curved form. The suppoiti^ig members, such 



THB BTZANTm AlTD BnUHKKIDB GOUBT. 



iMTd ftfU. 



ofeburcbei. 



General cba 
XMtehttief. 



m oirpitab and inmiMingB, inoiine to a oonTSx w 

aamy eiirmoimtad bjr tks sireeping tens of Hm mspsp* 

kopoMd fflipftlaii 

Hie LombKd style, whidi w may vagard as the eaifiest 
deTelopemmt of the Bomanesqiie, and aa the somoe fimm. 
whence was derived the architecture of the Rhine districts^ 
is characterised by new, and more ornamental features. 
Geoerfti plan The general arrangement of the churches is a oombinatioii 
of the Boman basilica with the cross, which takes a 
natural rather than a symbolical form, one arm being^ 
elongated, like the Latin cross ; the points of intersection 
being surmounted by a tower in place of a dome. Slender 
and clustered projections rise externally from the ground 
to the roof line ; arcaded galleries follow the line of the 
gable, surmount the drcukx i^tse, and at times are carried 
completely round the building. The great number of 
additional mouldings, especially on the entrances, is T«xy 
striking, and their surfaces are covered with rough bat 
^ective sculpture, which ending sometimes with the door^ 
way, is at others carried in bands horiasontally thioii^ 
the fiBU^ade, whilst the central doorway is frequently sur* 
mounted by a circular window. Incrustations of various 
coloured materials enrich most of the surfaces, and fre^ 
quently, as at San Zeno at Yerona, &c., the whole build- 
ing is constructed with alternate horizcmtal cauiaea of 
white and red, or white and black marbles. 

Ldtemally, piers are frequently substituted for columns^ 
and are at times compound, with attached half-cohimnB. 
The capitals are of various forms, and profusely orna- 
mented with very deeply-out and usually groteaqu& 
sculpture. 

Proportions are altogether neglected ; massive strengtb 
is evidently more an object than beauty ; and the rules 
of both Boman and Byzantine architecture are set at 
nought. 

Bound and octagonal buildings, eqwdally as bap^ 
tisteries, were usual The Bjrzantine cupola is frequently 
introduced, and the crypt was sddom if ever omitted in 
the churdies. 

But that which particularly distinguishes Lombaro! 
peeiSiariUes! ^^ Byzantine art is its sculpture, abounding with 
grotesque imagery, with iUnstrationa of ev«ry-day life^ 



laierlon. 



Strength 
more an 
object than 
proportion. 



Lombard 



SBCTfONAL STYLES. n 

of * £tteifiil myiiiology, not yet quite extinct, and 
aUusMRis, BO hmgeae symbolic, hikt direct, to the Christian 
ereed; -^le lattw quality, a fltrSdng evidence of the 
trinrnph of the Boman Church, over its iconoclastic 
adversaries in Greece. 

In Gennany, and e^pecoJly in the Khine districts. The German 
the Komanesque style received a peculiar developement. J^^*"***^^® 
Transmuted by degrees firomihe primitive Church of Aix- 
la-Chapelle and the original, bat mow destroyed, Cathedral 
of Cologne, it manifests itself earliest in the Cathedrals 
of Mayence, Worms, and Spires ; and in a more com- 
plete and perfected state at Cologne, in the Church of 
S. M. in Capitoh). We find hare the combined, dome, and General ciia- 

^— . i*AjC tens tics * 

vaulted basilica arrangement. Plain massive piers, in * 

{)lace of columns, mark the interior ; these rest on square 
plinths, and have imposts of a sin^e moulding ; some of 
the capitals are cubical, and omameoited with bold, effect- 
ive sculpture. The choir externally is marked by a plain, 
pHastered arcade, and the cornices rtaA on corbels. Beneath 
the choir is a large crypt, and xoimd the choir are to be 
observed capitals with boldly-worked foHage. 

At Worms and Mayence the nairaa are also formed by at worms 
massive squareiaers, evwy third one bwng furnished with ^^Jy^^ee. 
a haJf-engagad oobaasL T^ inill» ai« zenarkable for their 
broad, simple maflsea, aad are wiiinmt the arcade, or 
triforimn, so common at a later period ; this baldness is, 
however, reHeved by a peculiar and tasteful decoration, 
extending fixmi above the piers, to the superimposed 
windows. The doorways, as a rule, are devoid of that Doorways 
profuse sculpture which distinguishes those of Lombardy, those of 
and their archivolts are frequently plain. Lombardy. 

By degrees a greater use of the arcaded gallery and 
corbelled string prevaUa ; and in the tifairteenth century the 
Khenish churches are characterised by an almost fanciful 
richness of decoration ; the pointed arch, too, appears ; style in the 
windows of curiously broken curves are common ; the ^^^^ century. 
massing of the numerous towers becomes more compact ; 
the central dome, frequently of a polygonal form exter- 
nally, is highly ornamented ; the multangular towers are, 
as well as the domes, finished by an acute-angled gable 
ibr each separate side, c l u ste r e d round a centre spire or 
roof. A peculiarly Byzantine or oriental character is 



34 THB BYZANUHE AHD BOXANBSQDB COTTBT. 

^mvUh diatinguiduble in these, bb weJl as in the filiated cnu- - 

^S^Si!^ meat, and the capitaJs ; . whilst all the proportionB axe 

elongated and Bleitd«r, Mtd the um of arcades. beocRues. 



The BtptliUiy of Ant. 

idma almost extravagant, the whole fonuing a Bheniah Bom&- 
^^J^J^ nesque style, peculiar to Oerinany ; and of which many of 
g the Cologne churches, St. Apoeteln, St. Gercon, St. 
Cunibert, &c., and those of Andemaach, Laach, Sinzig, 
with numerous others of the sanw class, are well-known 
examples. , 



SECTIONAL STTLE9. 26 

A very remarkable eiampls of European influence 
tkctiug on die iSaat, is to be found in a baptintory of the 
above nature at Ani, in Northern Greece, doeely resem- 
bling many RheniKh buildings. It wbh probably founded 
on a German model in the twelfth century. 

It u impossible in this sj^tce to particnlarise ttie 
munerons varieties of Bomaitesque architecture south of 
ttie Loire, extending esfitward to Alsace. 

In some localities the Roman remains were manifestly FonDitiTC 
copied, as in lAnguedoc ; in others, a close resemblance ^^a'„^^ 
ia to be found between the monnmenta and those of. 't^lei of 
Southern Italy, as in Auvergne. Roman and German- Fnnco. 
Bomaneaqne traditions are found combined in Franche- 
Compt^. In- Touraine the Byzantine style is prevalent ; 
in Poitou the same, with an admixture of the Fisan 
school ; in the Pyrenean provinces we remark an evident 
inflnz of Moorish detul, and in the provinces bordering 
on I^edmont is seen the influence of the neighbouring q,_,_< 
Italian style. . Throughout all, the dominant feeling is a intiuance tt 
reminiscence, more or less stron^y evidenced, of the i^dJi^ 
style of the late Roman remains. 

Boi^[hly fluted columns and pilasters, cornices, sculp- 
tnred ftiezes, and regular archivolts are common. The 
plinths are frequently profusely ornamented with grotesque 



FliDIbM tram St. OlUei, AtlM. 

sculpture of hybrid animals, inc. An example of this 
vatnie, a plintJi, fonned by a sheep in the clutches of a 



THE BYZANTINB ANI> BOMANfiSQUE COURT. 



General 
character- 
istics — 
(exterual) 



(intenutl). 



Bomanesque 
style of 
northfom 
France. 



Hon, saving ai a pedestal to a statue, is sliewn in the 
aooompauying wood-eat; It is from tiie chiircli of St. 
GilleB, at Arks, in whidi city are niimerous examples or 
the same firndfiil style of seolptare. Statues, lanky, but 
not without some feeling for nature, are often found at 
tile angles of doors and of piers : the doorway colimms 
rest frequently on the hacks of lions. Capitals of 
extraordinary richness, and almost like brackets in their 
great projection, and central door piers covered with 
sculpture, are general. The churdies are frequently 
studded with absidal chapels, and the absides themselves 
(isdiffBrently multangular and circular) are capped with 
a good cornice, supported by stunted columns resting on. 
buttresses, between which are placed semicircular win- 
dows, usually of one light ; whilst one high tower, of 
diminishing stages, marks the intersection of the nave and 
iaransept, and the facade presents one united mass, sur- 
mounted by a pedimental outline, unbroken by western, 
towers, — ^the whole being often overloaded with sculptured 
ornament. Internally, the piers and walls are usually 
plain, with simple mouldings ; and the roof formed, either 
by a low pitched timber tiebeam construction, or with 
waggon vaulting, with fiat bands. Where the Byzantine 
Siyle prevailed, as in St. IVont at Perigueux, Le Puy, 
&c., the vaulting is domical, and singularly resembles 
that in use in Venice, and at Bavenna.* 

The existence of a Venetian colony at Perigueux, at 
the dose of the tenth century, has been incontrovertibly 
proved by M. de Vemeuil, in his iifteresting work on 
the Byzantine churches of Central Fnmce, and through 
their influence, the Veneto-Byzantine style was doubt- 
less extended. Of the ntmierous churches which bear 
witness to it, the Cathedral of St Front, at Perigueux,. 
is the most remarkable, both in its plan and arrange- 
ment ; and its numerous domes, the similarity of which to 
those of St. Mark's, Venice, and St^ Sophia, Constan- 
tinople, will be at once perceived by means of the 
adjoiuing sketch. 

In the North, especially in Normandy, a very diffierent 
style is met with. The church, planned as a Latin cross^ 

* The Rev. J. L. Petit has recently published aa e^oeed^offj: 
interesting notice of this series of monuments. 



BBCnONAL STTLEa 

has a mMuve sqtiue central tower, tke emrfoce of whicb 
is often lightened by oaatinnoua ftrcsdes ; the iiomerous 



Eiterior of tlig Cathednil of St. Froul, nt Fulpwai, 

abridal chtvpels are Less frequent ; the roofa, except that 
of the central tower, are of a high pitch, and two western 
towers adjoin the angles of the principal front. The oengnj 
•ntire mass is well, but not eicessively, ornamented. chiuMtar- 
Hie doorways are broadly moulded, and deeply receseed. 
The colunma are fi-eqaently well proportioned, resting 
cat short plinths, and Burmaunted by capitals, the variety 
of which is marked by the extremes of grotesqueness, and 
of beauty. Proportion ie more attended to, and the use 
of cluHtered and elongated columnar wall shafts is remark- 
able ; the absis is usually round, and the windows, whidk 
pierce it, are divided from each other by one undiminiihed 
circular shaft, running from the grotmd to the corbel table ; 
whilst the arcade, which in other buildings of the x>eriod 
passes usually immediately beneath it, is frequently placed 
on the ground stage. In a later period of the style, the 



28 THB BTEANTINB AND BOMAin»QUE COURT. 

•rbheB «re firequenily pdoited, the shafts become more 
TranitHim clustered and elongaied, the rood of higgler pitch, piii- 
Fotntod'*'^ ^ nades more freqaently occur, and a transition to the Early 
Mtjrl^* Pointed style is strikingly manifest 

OharMttr- In ^'^Vg*^'^ this style received a somewhat different 

Ko!^n«^n« developement 

■iyi« In Hie general mass is usoaUy of a heavier character, 

Kngiand, ^^yj^t particular features, sudi as doorways and windows, 

are more enriched than those of Normandy. There is 

more variety in the ornamental mouldings, and less 

delicacy of design : the influence of the preceding Celtic 

school of decoration is at timos evident; the windows 

are smaller ; the use of heavy cylindrical piers more 

natWiT^^ frequent. The nave, instead of being vaulted, has a wooden 

■ehoui. Toci^ and, in general, proportion is less carefully studied. 

In this country, equally with France, the transition to 

the Pointed style received an early and rapid developement. 



RApldtrao* Such are a few of the most striking 

Pointed of the Romanesque style, in the countries wbere it 

•tyltt* principally flourished. 

In all, however different in parts, .a general resemblance 

is evident. The same causes acted (unequally, it is true) 

upon all — ^ihe remembrance of Roman traditions, thereoep- 

Ksembi n ^^^ ^^ Byzantine taste, the {nesence of the Freemasons, 

of tho and a common creed. In detail, the connection between 

^y Uw?*^^* the Romanesque and Bysantine is often strongly marked. 

TbecauMfl. In each case, the semicircular ardi is a dominant 

feature, the column a subordinate one ; the mouldings 

bear the same general character, in which square feces 

predominate, and the capitals equally affect a cubical 

AnRlogons fonn. Judging finom the writings of contemporary 

features in authors, there was the same love of works in valuabJb 

tilie Rnd metsJs, and for costly ornaments, of which little has 

liJT4'~"" "^""^ *« imparti.1 hand of Time. The use of moett« 

work appears not to have been uncommon, and where 

money or artists were wanting, its place was supplied by 

the use of painting. Modem research leads us to believe 

Mosaic that many an interior, now all bare and gray, originally 

paiuUng. glowed with colour and gilHitig ; and that their walls and 

roofe weace gaudily, if not tastefully, decorated with 

numerous subjects, from the Holy Scriptures, and finom 

the legends associated with the Fathers of the Faith. 



COLOURED DBCOEATIONS. 29 



POLYCHROMATIC DECORATION. 



As any sketch, either historical or architectural, of 
Byzantine art, would be most incomplete without some 
notice of such embellishment, we shJBJl proceed to lay 
before our readers a few observations on that system of 
Polychromatic Decoration, by means of which the beauties ^, . ^ ^ . , 

_•;,.,. ,.•., 1 ir«i . Divided into 

of all its forms were so materially enhanced. The system two Kections : 
technicaUy having been divided mto two leading sections— JJSSl'ng"^ 
firstly, that in which the effect was produced by the 
combination of marbles and vitrified substances in 
mosaic, and, secondly, that in which painUng was the 
sole medium ; — ^we shall commence with thd former branch 
of the subject. 

Between the time of Constantine, a.d. 330, and the q^i^^ . 
14th century, three varieties of mosaic arose, which Tarieties 
obtained universally in Italy, and during nearly iqOO '^^™'***^*'' 
years changed but little, either in principle or composition 
— with the exception, of course, that as the art of design 
progressed, so did the power of drawing and giving 
expression to the nude, and foliage, naturally expand. 

The only specimen remaining executed in the antique oniyone 
manner, after the religious alterations effected in Italy, «*a"»pie 
appears to be that curious incrustation which lines the the antique 
vaulting of the Baptistery erected by Constantine, dedi- "anta***^' *' 
cated to S*^ Costanza, and to be found near the Costanza 
Basilica of " Sant' Agnese fuori le Mura, Rome." It ^^''°'*^* 
represents a vine, covering as it were the whole roof; it 
is, in fact, a pergola; and has, introduced among the 
leaves, many Christian symbols. The style is mixed Opus 
Tesselatum and Yermiculatum (majus and medium), of 
the ancients, and it exhibits none of the characteristics 
of the three styles we are about to describe, and which TuietiM ° 



M 



THE BTZAIVTINB AlTD BOXAIOBQUB COUBT. 



eiipeel«llT 
DjssntiiM. 



Roman 
Aitificen at 
.Constanti- 
nople, 



Their 
probable 
adoption 
of Tiew 
principles. 



Oriental lore 
of splendour 
led to 
Byzantine 
glass mosaic 
work; 



the prin- 
cipal artiste 
in which 
VMre Greeks. 



Desimction 
of examples 
in the East. 



may be regarded as especially Bynntine. These consisted 
in — 

1. Glass Mosaic, called generally Opus MnaiTnm^ 

imitative ; naed for walls and Taults. 

2. Glass tesselation, called generally Opus Oreca- 

niom— <xmYentional ; generally inlaid in church 
fumitore. 

3. Marble tesselation, called indifferently Grecanium 

and Alezandrinnm — conventional ; formed into 
pavements. 

"Whenjin the year 329, the seat of empire was removed 
to Constantinople, it may be believed that many Roman 
workers in Mosaic migrated with the court, and, througli 
their labours, some of the first churches erected by 
Oonstantine were probably decorated. Owing to their 
already degenerate condition, and to the distance from 
good existing models, their hereditary predilections woidd 
desert them, and they would naturally be in a condition 
to receive impressions, tending to the modification of 
their system of production, from new objects and strange 
fashions presented to their view. From such crafteh 
men the art was doubtiess handed down traditionally, 
but, in its character, effectively changed by its trans* 
mission. The oriental taste for splendour already shown 
in the gold ground mosaic of the late monuments of 
Pompdi, and doubtless of the Komans generally, soon 
superseded the pturer practice of the ancients ; and 
Byzantine fflas$ mo»a/k started into life. 

There seems every reason to conclude that for many 
centuries the Greeks remained almost the exclusive work- 
men and designers in mosaic ; and, through their ingenuity, 
Italy and Sicily stand pre-eminent in the possession of 
churches and baptisteries, whose walls are adorned with 
the gilded ground, and the gorgeously draped and swarthy 
visaged saints, peculiarly Byzantine. 

Byzantium, Asia Minor, and the Holy lAnd, once 
doubtiess possessed many ■ noble specimens of Greek 
Christian art ; but the elements, wars, fires, and Maho- 
metan whitewash, has deprived us of ahnost all those 
sources whence modeGm oriental art probably derived 
much of its inspanation, and most of the peculiar features 
of its chazacier. It is in connexion with this bnmfih of 



- COLOURED DEC0EATI0N8.— MOSAICS, « 

the subject that the inteiestmg quBstian aiiBes^ reepectixig inflaenee 
the mfluence that the early decoiative prooesses may have decoratiT« 
had, in detennining the subsequent character of conven* JSba©q5«en^" 
tional omament in all styles. Thus, the Arabs haying ornament : 
at £j:st adopted the general scheme of Byzantine archi* 
teeture, and among its processes that of mosaic, the^^^^^® 
style, from want of draTtings of detail, and of Greek, 
architects, declined in its integrity ; while the mechanical 
processes being retained traditionally among the work- 
mffli, this very mosaic work, at first only a subcHxlinate 
means of decoration, would become a leading element in 
the minds of the Mahometan designers. From expe- 
ximents and combinations with small geometrical cubes 
of glass mosaic, they would be led, not unnaturally, to 
that elaborate and intricate style of pattern, which, 
when they emerged at length from the infiu^ce of 
[Byzantine tradition, became an essential characteristio 
of their compositions. Thus, also, no doubt, did the on the 
ancient predilection for mosaic modify most materially not j^j^^f ^^ 
only the' plan, and whole structure, of the churches erected ^^ti^j?^"^^' 
in Italy down to the year 1200, but ev^i the minor 
details that charactetrise and constitute the style of those 
monuments. 

To return to realities, and our desmption of the first Subjects 
division of Christian mosaic, we may rranark, as its chief in the first 
and leading peculiarity, that it was employed only to division of 
represent and reproduce the forms of existing objects, Opus 
such as figures, architectural forms, and conventional M^^"*' 
foliage, which were generally relieved with some slight 
indication of shading i^cm a gold ground — the whole being 
bedded on the cement, covering the walls, and vaults, of 
iih» basilicas and churches. 

The design of both figures and ornaments was, generally General 
peaking, very rude, though not wii^ut an occasional Lticf*^^^'^' 
rising, in some of the figures, to a oeriwa sublimity, 
dexiviible principally from the great simplietty of the 
forms and draperies, and the eacaest grandhM expression 
depicted in their countenanees. Pearhaps the most striking 
example of this peculiar nu&jestry is to be found in the. 
enoraaous half-length figure of our Saviour, in the act of ;^t"ilSSSi« 
benediction, which oeci^dos the semidmne of the apse in (siciiy). 
the cathedral at Monrealey »e«r Pabnno, in Sicily. The 



H THB BTZA5TIKE AKD BOMANESQUE OOU&T. 

ornamenty in general, is of a &r better dasa of design 

onMaMni. when imbaed with somewhat of a Saracenic or oriental 

InmSif, taste — as in' all the mosaic-work to be foond in Sicily — 

than when, as in most of the ehnrches in Rome, its style oB 

At ROOM, conrention has been modified by old Roman fragments, 

paralysing, it would seem, the feeble judgment of the 

designer. Where entirely removed from thelatter infinence, 

M y«niM, as at Venice, Bavenna, and Ancona, this species of mosaic 

]UvraM,&o. assumes a for more original and peculiar style of beauty. 

The pieces of glass employed in the formation of this 
J?^m!^ work are of very irregular shapes and sizes, of aU colours 
and tones of colour, and the ground-tint aknost invariably 
Styl« of prevailing is gold. The manner of execution is always 
execution, large and coarse, and rarely approaches in neatness of 
joint, and regularity of bedding, even the " Opus majus 
Yermiculatum " ; yet, notwithstanding these blemishes, 
the effect of gorgeous, luxurious, and, at the same time, 
solemn decoration produced, is unattainable by any other 
Itneffccti means, as yet employed in structural embellidunent. 
ae leen at How noble, and truly ecclesiastical in character, the gold- 
l*aienno/&e. clad interiors of Monreale Cathedral, of the Capella 
Palatina at Palermo, of St. Mark's at Venice, San Miniato 
at Florence, or Santi Apollinare and Vitale at Bavenna, 
are, the concurrent testimony of all travellers attests. 
Tbe tmo ear- The two earliest glass mosaics of the Christian era^ 
licit giaaa -^i^hich either exist, or of whose existence we have certain 
evidence, possess an extraordinary interest in connexion 
2J^^J"* with fhe study of iconography. The most ancient, which 
was traditionally related to have been given to Pruden* 
tins, a Roman patrician, by St. Peter, and which is referred 
to by Church writers of the fourth century, was stated 
by M. Frelet, at the sSa/nce held in 1841, at Lyons, by 
the French' Society ** for the preservation (A monuments,'' 
represents to be worthy of regard, as probably the primary typo 
itlTimportani ^^^ the appearance of our Saviour ; and he further observed 
hfkct that the pious duty of imitating this mosaic in after exam- 

ples, was one of the great causes of the general resemblance 
JJJ^^ of physiognomy in many of the portraits executed firom 
aentetions. that period imtil the ninth centnty. 

Lord Lindsay mentions, in reference to the peculiar 
my'Kve- Byzantine character of the head of the Bedeemer, ^^tiiat 
mi^ksoatbif ^ earli^ appearance is in a mosaic, said to be of the 



1 



COLOURED DECORATIONS.— MOSAICS. 99 

fourth century, found ariginally in the cemetery of San 
Gallifito at Borne, and now preserved in the Museum 
Ohristianum of the Vatican. It was repeated," he 
remarks, ^* in 441, attended to the right and left by 
tiie symbols of the evangelists, and the elders offering 
their crowns, on the triumphal arch of San Paolo fuori 
le Mura (now destroyed) ; was reiterated two years later 
on that of St^ Maria Maggiore, still existing, and re- 
peated constantly afterwards with but little variation. 
This primitive type consisted of a half-length placed 
within a wreath, and generally in the act of blessing 
with the right hand, and holding the cross or the globe 
in the left, and is to be often met with in the basilicas of portrait 
successively built at Borne and elsewhere in Italy." 

This peculiar arrangement of subject became popular 
throughout Europe, and was known in Italy as a Majestd, 
in France as a MajesUy and in England as a Majesty. <• Majesty." 
Sir C. Eastlake, in his invaluable '^ Materials for a 
History of Oil Painting," (p. 663) quotes a liberate roll 
of 1238, in which directions are given ^'majestatem 
quondam in capell& Sancti Thomas depingi." 

In addition to these most interesting portrait subjects, 
many others occur. " Sometimes," says Mr. Hope, " our remSMntir 
Saviour is represented by a lamb exalted on a pedestal, tions of the 
and surrounded by a nimbus, to whom twelve other *^®"* 
sheep, representing the Apostles, pay homage ; at other 
times, stags approaching a vessel stand for the souls of 
the faithful thirsting after the living waters : these souls 
while here below, appear in the shape of doves ; after 
the resurrection, and in a glorified state, in that of the 
phoenix. In the Chapel of Santa Prassede, at Bome, 
four angels in the pendentives support a medallion, the 
centre of the cupola containing the head of our Saviour." 
Often a troop of martyrs, male and female, distributed 
to the right and left, are seen worshipping the more 
colossal central figure — ^if of our Saviour, or of the patron 
saint, standing on the clouds ; or if of the Virgin, 
sitting on a gemmed throne. The triumphal arch is in 
general adorned, in conformity with its name, by saints Ornament of 
or angels, celebrating the triiunph of the cross, and the phai arch. 
sacred initials suspended over its centre." 

^e general aspect of the history of this art preseats 



«« 



THB BYZANTINE AND BOMANESQUS COUBT. 



Ch««et«r of 
urtliU. 



Lord Ltnd- 
My*! ohrono- 
logted list uf 
tb« Italian 
noMiet. 



Extx» infor- 
matton by 
Hope, 
ClaJnpIni 
and Mora* 
tori. 



HIatns Btfaa 
hittory of 
moaalework. 



Tbe ease of 
Venice ex- 
ceptional. 



118 witli a picture of the indiutryy peraeyeranoe, skill, and, 
at the same time, monotony of the Greek character. 
From the fourth to the middle of the ninth century, an 
almost uninterrupted succession of works, of ex^eme 
value and importance, may be traced* For approxi- 
mations to a dironological list of these, we are indebted 
to yarious authors ; since, however, the account furnished 
by Lord Lindsay is the most condensed, and moreover 
excludes performances of comparative insignificance, we 
prefer rather to draw from his materials than fonn those 
of any of the other writers. He tells us that the more 
interesting Italian mosaics of the first great period may 
be enumerated as follows, in their chronological order: — 
*' those of Santa Sabina, Rome, a 425 (now almost entirely 
destroyed) ; of Santa Maria Maggiore, c. 432 ; of SS. 
Nazario and Celso, or the tomb of Galla Placidia, Bavenna, 
440 ; of S. Giovanni in Fonte, Bavenna, 451 ; of SS. 
Cosmo and Damian, Rome, 530 ; of San Yitale, Bavenna^ 
547 ; of S. Maria in Cosmedin, Bavenna, 553 ; of S. 
ApoUinare di Fuori, Bavenna, 567 ; of San Apollinare di 
Dentro, Bavenna, 570 ; of San Lorenzo fuori de Mura, 
Bome, 578 ; of S. Agnes, Bome, 625 ; of the Oratory 
of -San Yenanzio, adjoining the Baptistery of Constantine, 
Bome, 642 ; of the Triclinium of San Leone (interesting 
for the portrait of Charlemagne), Bome, 797 ; of SS. 
^ereus and Achilles, Bome, a 800 ; of S. Maria in 
Domenica, Bome, 815 ; of S. Pudenziana, Bome, and of 
& Prassede, Bome, c. 820 ; of & Cecilia, Bome, 820 ; of 
S. Ambrogio, Milan, 836 ; of S. Maria Nuova, Bome, 
848." In Mr. Hope's catalogue several examples, not 
here mentioned, may be found, accompanied, for the most 
part, by the names of the founders ; and in the pages of 
Ciampini and Mmatori, the student may find ample 
information as to dates and other minutiae. 

From the year 850, to the beginning of the twelfth 
century — a period of war, misrule, and suffering — an 
almost complete hiatus in the history of mosaic occurs in 
Italy ; and although symptoms of a renewed esustence 
biust forth in the commencement of the great works 
at St Mark's, Venice (in 1073) ; it was not until 
the beginning of the twelfth century that the art exhi- 
bited any further striking developement. It is in the 



COLOITRBD BBCOBATIOirS^MOSAICS. tS 

decoration of the - apse of the eelebrated Ghnrek of San 
Clemente, at Bome, that we find the zeviTal most Marked ad- 
strongly manifested. This is, as Lord Lindsay lemarks, ctemente**" 
*^ a most elaborate and beantiful performance, yielding to Home, 
none in minuteness of execution and in delicacy of senti- 
ment. It is characterised, moreover, by a resuscitation Resusciu- 
of the symbolism of early Ohiisiianity, so long neglected, Sj'l.^'i***^*^ 
although in subordination to one of the traditional dramatic symboiirim. 
compositions — the Gruoifizion. On every account, there- 
fore, it merits the most attentive examination." 

Towards the beginning of the thirteenth century, the The Italians 
Italian artists began to learn from the Greeks then settled ^^^^ ^^ 

^ Greeks at 

at Venice, and probably at JRome and Monte Cassiao, to the be-in- 
execute mosaic-work for themselves. iVa Giacomino, ti^utMnti!^ 
otherwise called Mino da Turrita, of Sienna, having learnt century. 
the art from the Greek artists who had been engaged by mim>. "^ 
the monks of S^. Maria Novella, at Florence, to 
decorate the substructures of their church, commenced, 
in the year 1226, the decorations of the Tribune of the 
Baptistery at Florence ; and, after completing his work 
there, he appears to have proceeded to Home, where, 
towards the dose of the century, we find him executing 
the splendid mosaics of the Tribunes of San Giovaimi 
Laterano and Santa Maria Maggidre. After the departure 
of Mino from Florence, his place was supplied by Andrea Andrea Tafi. 
Tafi, who acquired the art from the Greeks, then working 
at St. Mark's. He succeeded in inducing one of his 
instructors, Apollonius by name, to return with him to 
Florence : there they executed in conjunction the mosaics 
which adorn the cupola of the baptistery!. In these 
labours they were assisted by the eelebrated Gaddo Gaddi Gaddo 
—the father of a race of artists — ^who, after distinguishing ^^*^* 
himself highly at Florence, was summoned to Borne f 
in which city he executed, among other large undertakings, 
the great Mosaic, still existing on the facade of the Basilica 
of S^* Maria Maggiore. With Gaddo Gaddi the genuine 
art of Italian glass mosaic may be said to have died, Subsequent 
although small portions, executed at almost every date, ^^^^^^*^ 
are yet to be found in Ihat great encyclopedia of art, St. 
Mark's, at Yenice ; from original studies in which monu- 
ment, and in the Cathedral at Monreale, our principal 
painted decorations have been selected. 

D 2 



9$ 



THB BTZANTINB Ain> BOHAKBSQUB OOU£T. 



Opni 

Grecanlenm, 
the Mcood 
TarietT of 
Christian 
motaie. 

Method of . 
execatlon. 



Its eonyen- 
tlonalitj. 



Fonnd on 
ehareh fur- 
niture. 



Rarely used 
on exteriors. 



Its preva- 
lence in 
Italy. 



Earliest' 
examples. 



S^prodno 
lion of the 
Byzantine 
Court 



Our aeoond Yariety of Ohrisiiaii mosaic — the glass 
UsulaUony which we shall Tentiire to call Opus Greccmiewm 
— consisted in the iosertion into grooTes cat in white 
marble, to a depth of about half an inch, of. small cubes 
of variously coloured and gilded ^^ smalto" (as the Italians 
called, and still call, the material of which mosaic is com- 
posed), and in the arrangement of these simple forms in. 
such geometrical combination as to compose the most 
elaborate patterns. These, it is to be recollected, difier 
from all that were produced by means of '^Opua 
Mosalcum," our first species, in the essential particular 
of being purely conyentional in style. These ornamental 
bands it was customary to combine with large slabs of 
the most precious materials, of serpentine, porphyry,- 
pavonazzetto, and other valuable marbles, and apply 
them to the decoration of the furniture of churches and 
basilicas. Thus they axe constantly to be met ^th in 
the cancelli or screens, the ambones or pulpits, the 
episcopal and regal thrones, the ciboria or taberaadesy 
and in the most gorgeous tombs and monuments. Their 
use externally was comparatiyely rare, although they 
may often be found uniting themselves with the archi- 
tectural members of a building — as in the cloisters 
of St. Paul's and St. John's, in the Laterail cloisters, the 
porticos of San Lorenzo fuori le Mura, Borne, and of the 
Duomo, at Civita Castellana. The Opiis Qreccmicvm pre^ 
vailed over the whole of Italy for many centuries, but 
cannot be referred to an extremely early origin ; since the 
art of geometry, on which its beauty, and indeed existence, 
almost entirely depended, was not revived in any consider- 
able degree until the sixth century, or later. 

We are unable to instance any earlier example of glass 
tesselation than that in the episcopal chair and tribune in 
the Basilica of San Lorenzo, at Home, executed probably 
about the year 580. The portion of the cloister of St. 
John in the Lateran, which has been reproduced in real 
marbles and mosaic, together with the great variety of 
patterns, from most of the chief specimens in Italy, and 
Sicily, painted on the walls and piers of the Byzantine 
Court, will, it is to be hoped, convey a dear idea of 
its nature, and furnish some notion of the felicitous 
manner in which its forms harmonise in composition 



COLOURED DECORATIONS.— MOSAICS. 27 

-with sculpture and painting. . The regular and rectilineal 
qualities of its ffeometrical forms siYe to the figures of 
Ltative art, a^ to carved, aad floving oniiuZTthe 
same vivacity and sense of nkition (<' il mosso d'un 
quadro") which the rectangular lineis of a piece of archi- 
tecture afford when introduced into an historical picture. 

To the value of such geometrical bands, as the frame- 
work of wall-paintings, we shall hereafter farther advert. 

The hexagon and the triangle, the square and octagon, oeomAtHcai 
form the usual geometrical bases of most of the specimens ^*^ ^^ ^^ 
of this ingenious art to be found in Italy. Descending ^^' 
into Sidly,. patterns of accumulating intricacy, in which Feeaiiarij 
the leading white line preserves intricacy from degene- ^icUy^'^ ** 
rating into confusion, arrest our attention ; more espe- 
daUy at Palermo, in the Oapella Palatina, and in the 
Cathedral at Monreale. The existence of these features 
in that particular locality is to be accoiuxted for by the 
acknowledged skill of the Saracens, the principal inhabit- through 
ants of the island, in the contrivance mid execution of [|[uif^^^ 
dedorations of great elaboratioh and of striking oolom:. 

Wherever glass vnosaic in imitation of figures was used, 
this kind of work was employed ; and, until the abandon- 
ment of the -manufacture of the former variety, neither in gioiuaritr 
design, colour, nor nature of material, did the last between the 
examples executed of the latter appear to differ at all ute^eauilnk- 
firom the first. It is right, however, to notice, that the P^^- 
popularity of the conventional niosaic survived that of 
the pictorial by at least a century and a half. 

These brilliant patterns will doubtless, to the taste 
of many, appear glaring and gaudy ; but let those labour- 
ing under this impression picture to themselves its com- 
bination with the noble colour tiad. the scenic and 
picturesque association of the fine old Italian churches, 
in which the examples are usually found, and they will 
probably arrive at some more just idea of its graceful 
and harmonious effect, and its capabilities as an indlistrial 
agent. 

Scarcely any specimens of this art are to be found out Examples 
of Italy. Mr. Hope notices some whidi formerly existed ^^^ "^ "* 
in the old Abbey of Clugny, in France, now destroyed ; 
and we lAay boast of two or three specimens in our own 
country, of exceeding interest. The shrine of Edward 



THB BTZANTIHS A5D BOICANKSQUB CX>UST. 



Prol»U/bj 

MrtUtB. 



The third 
Twietj, 



or opng 
Alezaii- 
4tiiiiiin; 
itsaatorB; 



its tntlqnify 
atBome; 



ftdoptedliy 
th« Byzan- 
tine Qneks, 



iho Ooofbnor, idiidi waa finuhed under Heniy HI*, 
bean an inaci ip tion, recarding it to hare been executed 
in the year 1270. Ibe tomb of the same monarch 
exhibita alao some very beantifiil speeimenB of this aaane 
proceaa, though alaal in « mretobed state of dilapadatioiiL, 
There appean to be no doubt whaterer that these piecioiia 
relics of lon|^f orgotten arts were the work of Italian artistBy 
and th^ have been long ascribed to the Italian Fietro 
CaTilliniy idio executed the mosaics of S'^ Maria in. 
Trasterera at Rome ; but on most fallacious eyidenoe 
are they attributed to him, sinoe he never appears to have 
Tisited England ; and had it been possible for him to do 
80) luB Tisit oouki not have been at that time. 

Turning now to our third division of the fnedicsvai 
mosaio^-ihat which formed the ordinary Italian church 
paving finm the time of Constantine down to the thirteenth, 
century, and whidi has been suooessfidly imitated in the 
beautifhl encaustic tile-pavement of the cloister presented 
to tiie Company by Messrs. Maw ^ Ca — the Opus 
AlexandrvMtm^ — ^we may describe it generally as tesselated 
marble^work— 41iat is, an arrangement of small cubeSy 
usually of pozphyiy or serpentine (reddiah-puzple and 
green-coloured), composing geometrical patterns in grooves 
cut in the white marble slabs, which form the pavements 
The contrast between these two colours produces a mono- 
tonous, but always harmonious, effect Giallo antioo, a 
light yellow marble, with an occasional blush-tone, is also 
sometimes employed, but it has always the i^pearanoe of 
a subsequent introduction. This kind of x>avement is of 
▼eiy great ailtiquity,'and is generally regarded as having 
dosely resembled that introduced into Borne by Alex- 
ander Severas, a.i>. 222 — 23d. Lampridins asserts that 
the e mper o r brought with him from Alexandria great 
quantities of porphyry and serpentine, which he caused 
to be worked into small squares and triiingles, and 
variously combined. Prior, howeTsr, to this date, Pliny 
had described (Ixxxvi cap. 25) ^' a species of mosaic for 
payements, composed of interlayings of porphyry and 
serpentine — richer in cdour and less liable to wear out 
than softer marbles— ^whioh he calls * genus pavimenti 

Adopted by the Byxantiae Greeks as 



»»♦ 



* Hope's " Easaj on Arcliiteetai^,** p. 164. 



COLOURED DECORATIONS.— MOSAICS. S9 

their tpeciaUUy it was largely disaemiiiated throughout 
Italy, by the aid of their workmen, and the Italian 
monks acquired from them the processes of its mann- 
facture, as we learn ^firom a passage furnished by Leo 
Ostiensis, abbot of Monte Casino, who sent for Greek JJ^JJ *{Jj^ 
masters from Constantinople to teach the art to divers monks. 
youths, in order that the same might not be lost. 

It must be confessed^ that but few of the specimens ite ^K»»fs^ 
which remain exhibit any considerable neatness in the *"^ "• 
*< commettitura,'* or fitting together. The least imperfect j^^i^,^ 
in this respect are those in the Capella Falatina, at examples, 
Palermo, and in the churches of San Lorenzo and Santi 
GioYanni e Paolo, at Home. Strong internal evidence 
of the Greek (Byzantine) origin of the design of all these 
pavements is to be found in the marked limitation of the 
variety of ornament employed throughout Italy and Sicily ; 
the same patterns for the fiUing-in forms, being found in its mono- 
almost every church paved with the * 'Opus Alexandiinum" ^^ ' 
throughout either -country ; and the general arrangement 
is, in principle, perfectly identical 

We have good reason to believe that this variety did whendis- 
not remain in general use nearly so late as either of ^° ^ ' 
the two varieties previously described, and that its 
emplojrment was discontinued almost totally towards the 
end of the thirteenth century. It was gradually super- natnre of 
seded by tiiat kind of work known to the Italians as ^^^^''^ 
** opera di commeeso "-^— that is, a mosaic formed by 
shoes of marble, arranged somewhat on the principle of 
the ancient *^ opus sectile,'^ the projections of one piece 
being so cut as to enter into the recesses of another ; in 
that manner it produced, at first, geometrical and con- 
veirtional forms and patterns, and, at a later period, 
pictorial representations. When this latter effect was 
aimed at, advantage was taken of the natural tints of the 
marbles to express shades and local colour; and the 
work, when fuUy carrying out the imitative system, 
became what is generally known by the name of '* Floren- ptodneed 
tine Mosaia^' limited at first to the monochrome and ^^ne^DOMic* 
conventional expression of form, we may- trace this art itg coarse 
from the Church of San Miniato and the Baptistery of ^'•oed, 
Florence, throi^h the works of Giotto at the Campanile, 
Bnmelleschi at the Duomo, and Orcagna at Or San 



THE BTZANTINK AND SOMANBSQtlB CODET. 

Hich«l«, to the lingulftr paTetnent at Sieuua, where, 
through the wonderful ekill of Bacoafuiui, luge and 
elaborate histcriual oompodtioua may be seen, admirably 




Bi^&mpleof M(WftiePkveiDeat,fhtDi Saa MInLftte, FlomiCfl. 

exhibited in light, half-tint, and ahadow, by means of the 
ooutrost of three marblsH only. An imitatbn of tha 
earliest style of this inlaying, founded on the patterns of 
the pavsmenta of the baptistery and Church of Sod 
Miniato at Florence, has been most carefully executed 
by Messrs. Orsi and Amuiui around the fountain, and 
over the principal area of the court, on example of which, 
troai the Churdi of San Miniato, near Florence, is seen in 
the B«coinptuiyiDg engraving. 

We now turn, from a conaidBration of the polydiro- 
matic effects produced by the Greeks through tlie medium 
of mosaic, to those worked out by them through other 
executive processea. The subject is one of ooneideroble 
importance in the history of art, as upon Greek troditiona 
the whtde Hystem of mediceval composition was based. 

«w''^'«ii'' -^ ^^ oataoombs of Bome and Naples the earlieat 

uucombi. p^ntingB after the time of Oonstantine aie to be found. 
These sacied depositories were, for years, the haunts of 
die friends and relatives of those who had suffered in the 
days of persecution, and to these friends we must attn- 

lu nnenl ^nte the works commemorative of their faith and trust. 

chimeui- The general characteristics of sudi ancient paintings urp 
— that the outlines are strongly defined by a very fine 
£rm brown line, dark and broad ; the figures are by no 
means well drawn, and the colours and shadows are not 
very forcible, although iiey are somewhat heavy. 



COLOUKBD DBCORATIONa— PAINTINGS. 41 

Now, in works of a' little later date, apiHroaching the styto about 
twelfth century, we find, ][>articularly in iUuminated manu* centur^r 
scriptB (such as the Yiigil in the Vatican), the same 
traces of oolouring, but the style is completely distinct 
£:oni that of the Greek manuscripts of the same times ; ^{frerent to 
in the latter light and shade are indicated by positive Greek art of 
lines, foUowing the forms of the limbs. The whole "*°"®^'**- 
character of Greek art is marked by that peculiar con- 
volution, which was the consequence of the habit prevalent 
among the Greeks of decorating their vestm^its, the robes of^"j^^^ 
of their priests, and the hangings of their churches, with their cause, 
elaborate needle-work ; and filagree ornament pervades 
their drawing of the figure, as, there is no doubt, it 
pervaded their actual embroidered work, exerting an 
influence which may be traced subsequently in Saxon and 
northern manuscripts. 

The earliest manuscript existing, that gives any account Earliest us. 
of the painting of the period, is one published by Mura- *»"' P*^'!"^- 
tori It is attributed by him to the middle of the eighth 
century, and it exhibits peculiar departures at that early 
period &om the processes of manipulation described by 
Pliny. In that manuscript we trace the germs of the 
prevalence of that green tint, which the Byzantines Gnek flesh 
.adopted as their flesh colour, and which furnishes a means i|s snon 
of distinguishing the works produced in Italy . in the 
Greek, or green school, from those executed in the Boman, nddish- 
or reddishrbroion school brown. 

We have also the treatise of Heradius, '^ De Artibus HenaaUiis 
Bomanornm," ascribed by Mr. Hendrie* to the middle Roman- ''^"' 
of the eleventh century, and in this work are again to onun." 
be found many of the old Boman expressions for coIquri 
and painting, an indication that there still remained 
among the Italians at that period a lively feeling for 
the old Boman style of pamtiog* 

We are accustomed to suppose that the Greeks The GrMks 
•executed polychromatic designs only by means of mosaic ; p^ting in 
but on deeper inquiry, it will be found that *^« old JJf^fig*®'' 
processes known to the Bomans, sudi as temper^, mosaic, 
.encaustic, fresco-painting, and that particular branch of 
fresco wMch the Italians called /resoo wcoo, were perfectly 

* Notes to his translatiQn of the Schedule DiverBanim Artium 
xnt TheophiluB. 



4a 



THE BTZAKTINB AND B0MANB9QUB COUET. 



ThatrMtlM 
ofThto- 



M8.dli. 
aoTtred hj 
M. l>ldrou at 
th« OoDTtnt 
of Mount 
Athoi. 



Zndtoatloni 
of tht pr^ 
Mno« of 
Uroak 

artiitfl. 



Thtlr em- 

51oynent tt 
'lortnoo. 



Kttffleft 
remurks on 
their ityltt. 



System of 
modern art 
in Greece. 



weU known among the Greeks. . We find in the IVeatifle 
of TheophiluB (a manuscript of eztensiTe oircalation in 
the middle ages, written about the year 1200, though 
sometimes assigned to an earlier date), a complete 
description of all the various modes which actnally came 
into use in subsequent periods in Italy ; and an comparing 
this treatise with the curious manuscript discovered by 
M. Didron in the Convent of Mount Atiios, we find that 
the Greek practice was nearly coincident with the descrip- 
tion in the manuscript of Theophilus, which also details 
many of the processes used in the north of Eiurope. It is 
therefore curious as showing how the traditions of Koman 
skill in painting have been handed down to later times. 

Although the Greek artists do not appear to have exe- 
cuted any great works, either in fresco or temperib, in 
Italy previous to the year 1160, still we have certain 
earlier indications of their, at least, temporary presence. 
We know that they were employed, because they were 
sent for to execute work in different plao^ Perhaps 
the most interesting instance on record is that of the 
monks of S^ Maria Novella of Florence, sending to 
Greece for artists to decorate the substructures of their 
church. Yast numbers of paintings on panel; evidently 
the work of such artists, and of pupils formed by them, 
are yet to be met with in Italy, attesting by their 
abundance the extent to which the Greek influence 
prevailed. 

Ktlgler observes, ^Hhat in the Byzantine paintings, 
both in laiger works and manuscript-miniatures, the 
execution is generally distinguished by extreme finish, 
though not by particular harmony of colour. A prevailing 
greenish-yellow dull tone is peculiar to them : this has been 
attributed to a more tenacious vehicle, which has also 
produced a streakiness in the application of the pigment ; 
another peculiarity is the frequent use of gold, particu-* 
larly in the grounds, which are entirely gilt." Among 
the modem Greeks art became a regular traditional system ; 
technical methods descended as property from master to 
apprentice ; and the manufacture of pictures was as regu- 
larly organised as that of any otiier article of constant and 
regular demand. During all the earlier centuries, in the 
Eastern empire, the artist was generally confounded with 



COLOUBBD DBCORATIONS.— PAINTINGS. 48 

the workman ; and only the " master of works," or archi* 
tect — a person who, it is true, sometimes united to Iiis 
own profession the practice of painting — was held in 
esterai, and fitly rewarded. Amoiig a people who regarded 
any innovation in art as .a species of heresy, we may 
readily imagine the mechanical departments were far more 
attended to, and better developed, than the purely 
aesthetic qualities. Thus. we find the manufacture of gold 
and silver ; the ornamentation of books with conventional 
forms, in brilliant and permanent colours, heightened with 
burnished gold ; the elaboration of mosaic of excellent 
construction; imd its subsidiary branch, *' mosaic" or The Greeks 
** Byzantine enamel," and the embroidery of precious pi*«ninont 

in ormuneiit. 

vestments— carried to the highest pitch of perfection ; ^'''^*"'- 
and their f ormuke for all details connected with these pro- 
ductions compose the basis of the collections of Heraclius 
and Theophilus^--of that of the latter more particularly. 

When we enter on the subject of mtiral decorations Italian 
executed in the Greek style by Italians, we find that ™J™^ ^®«>- 
Cimabue, who was a contemporary and a great friend of th« Greek 
Gaddo Gaddi, acqtured at once an amazdng influence in c^^bue. 
that branch ^ art. His greatest work, and that which 
has stamped his reputation, is the ceilu^ of the Church 
of San Francesco at AssisL He luul previously only .^^^^ ^^ 
executed a few Madoimas and similar subjects. Of vorks exe- 
the three principal ceilings executed by him in this^*^^^ 
church — one contains figures of St. Frauds, St. John, 
the Virgin, and our Saviour, and has been admirably 
reproduced by "Nfr, J. B. Clayton from drawings on 
the spot by M. Denuelle of Paris and . Mr. Wyatt ; 
another represents the four Doctors of the Churdi, in 
fullc-length figures, seated on chairs ; and the third is 
now nearly obliterated. A curious chaxacteristic of all a curious 
Cimabue's works is, that in consequence of his connection fijK onSa 
with the decorators in mosaic, the key, so to express it, m works, 
which they were composed, appears to have been tiiat 
of mosaic. His grounds are generally golden, and 
the patterns painted on the different libs exactly 
resemble those which composed the Byzantine . ^* Opus 
. Gr^canicum.'* It is remarkable, that in the midst 
of so much that is manifestly Greek in the drawing 
of the figures and draperies, the acanthus is introduced. 



H 



THE BTZANflNE AND ROMANESQUE OOUET. 



Evidences of 
a elasBieal 
influence. 



Church of 
St Francis 
at Assi»L 



Influence of 
the FrancLfr- 
cansand 
Dominicans 
on art 



Early arUsts. 



Reiralt^ of 
religious 
missions in 
northern 



St Patrick 
and 8t Au- 
gostine. 



Character of 
Irish and 
Anglo-Saxon 
illuminated 
works. 



-wreathing around ^^pnttini," or little figures of boys ; 
and many of the other ornaments are completely classical 
in style. Kligkr's remarks on the peculiar classical feeling 
evinced by Cimabue suggest the idea," that the spirit 
of Greek decoration, when actually attaining its climax 
of beauty, evidenced, more strongly than in the inferior 
stages of its development, its old Roman origin. The 
Church of St. j Francis at Assisi is one of the most 
interesting in the history of art, particularly as being 
connected with the order of St. Francis, the first of 
the great artist-orders— «ince the engagements of the 
Benedictines in literary pursuits to a great extent 
precluded the development of their energy in the 
direction of art It thus remained for the fSranciscans 
and the Dominicans to inspire a new feeling for art in 
Italy, and traces of it may be met with as early as the 
year 1200. We must not forget, however, in the gloiidtt 
of Cimabue, the fact that painting in Italy had been 
worshipped by many votaries before his time — by such 
men, for instance, as Guide, Diotisalvi, Ducdo di 
Buoninsegna, and others, the fathers of the Siennese 
school, and by Giunta di Pisa. ^ 

Antecedent to the thirteenth century in which these 
masters practised, seeds destined to bear the most 
precious flowers had been sown in the north of Europe, 
by the mission of the earlier saints ; — and the intercourse 
and constant relation maintained by them with the 
great head-qiuirters of religion and art, tended, no 
doubt, to disseminate artistic precepts. Thus, firom St. 
Augustine and St. Patrick, may England and Ireland 
have gained a knowledge of some arts, and that know* 
ledge, engrafted perhaps on the remains of Boman or 
barbaric tradition, may have been pursued with such 
ardour and patient industry, as to outstrip the progress 
of the nation, from natives of which they had first 
obtained their instruction. The Irish and Anglo-Saxon 
manuscripts of the seventh and eighth centuries, display 
in the illuminations, the most extraordinary elaboration, 
l^ough, truth to tell, a somewhat barbaric taste, and 
evidently show that distance firom the traditional souroeft 
of art, had thrown their designers back on their own 
inventions^ — which, however admirable they may be am 



COLOURED DECORATIONS.— PAINTINGS. 45 

specimens of calligraphy, are singuLyrly piimitiTe, where 
the human figure^ or any direct imitation of nature is 
attempted. i 

After the year 1000, art, from various causes, made a progrtKB of 



art in th« 



cen- 



great leap forward throughout Europe, and t^ugh the JfoyJJjJh' 
-vigorous intervention of Hildebrand and the Roman tury. 
Church, monuments of the greatest splendour arose on all 
sides. This era may be looked on as a species of 
starting-point, at which the forms and processes of art 
assumed much the same externals in all parts of 
the continent, and from which . the lines of national 
individuality diverge. 

We may now, therefore, enter on that portion of the a notice of 
subject, which is to most of xii highly and nationally JJjJ^ ^'**^ 
interesting. It is scarcely necessary to say ,that we 
allude to the history of the art of ova own country. 
The students of early Irish Hagiology, with Dr. Petrie 
at their head, have collected much curious detail on; 
the early state of learning and the fine arts in Ireland, 
from the year 550 to the year 1000 ; and during the its superi- 
whole of that period we freely confess that, in the Anjio-^^on 
practice of art at least, they appear in advance, both^®** 
in mechanical execution and originality of design,' of 
all Europe, and the Anglo-Saxons in particular. The 
comparisons instituted by Mr. Westwood in his learned 
*' PalsBographia Sacra," between the Irish and Anglo- 
Saxon MSS., are decidedly in favour of Ireland, and 
through the monks of lona and other sources, he traces 
much of the Saxon work to Irish influence. But in 
England we are enabled, in very early times, to trace influence cx- 
several other influences. Quotiag Mr. Hendrie : " We fand *froin^* 
find that, previously to the edict by which Charlemagne ^^^^*^' 
resolved to encourage the various axts to the utmost of 
his power, Wilfred, Bishop, of York, and Biscop, his* 
friend, had already availed themselves of the assistance Benedict 
of foreign artists, in order to decorate the Cathedral of Alfred at 
St. Peter,, before the year 675. Biscop tmdertook a ^'°®* 
journey to the Boman States, and brought home many 
pictures with which the churches of St. Peter and 
Weremouth were ornamented. The second visit of 
Alfred to Home with Ethelwulf, although undertal^en 
at an early age, would, doubtless, not be without its 



M THE BTZANTINB AND BOMANBSQTTB COUBT. 

influence on such a mind. The painted chamber at 
St Dnnitan. Westminster, in which Edward the Oonfessor died, the 
renown of St. Dunston as an accomplished painter and 
English a skilfhl contriver of instnunents, the remains of the 
tMmeTon S&^o^ chased and enamelled work, which was esteemed 
the oonti- on the continent as early as the seyenth century, and the 
■erenSi ^ manuscripts which are yet extant, prove that, in this 
oentuiy. coimtry at least, the arta as introduced by the Romans 
were never wholly lost. Records exist of Alfred the 
^Urt^Snln 0^^ ^^m summoned workmen from aU parte of 
EngUnd. Europe, to assist in the construction of the edifices he 
proposed to erect, and it is probable many Byzantine 
traditions may thus have been acquired for England." 
The formula She certainly with some few exceptions, possessed and 
andThe^^"'* pr^^ised, at the periods of I their compilation, all the 
phiius formulfid of Heradius and Theophilus, including probably 

Engiftud. the occasional use of oil painting ; since we find that 
in the year 1239 (one year before the birth of Ciinabue), 
directions are given in one of the records for the pay- 
ment to Odo the goldsmith of 117 shillings and 
PAintlngs at 10 pence, for oU, varnish, and colours bought, and 
ster. °^ ^OT pictures executed, in the Queen's Chamber at 
Westminster. 



EFFIGIES. 

EXTEBIOR OF THE BYZAMTOE COUBT. 

Effigies frnm The recumbent ej£gies, in front of the Byzantine Court, 

cuuroh?'^* *^® ^^ast from those in the Temple Church, London, and 

Loudon. are very interesting examples of statuary art during the 

thirteenth century. Although usually called Templars, 

they possess none of the distinctive features of that 

celebrated order, but are clad in the. ordinary military 

costume of their day. Mr. Richardson, by whom they 

have been restored, gives us, in his valuable work on the 

''Temple Effigies," much information about them, from 

which the greater part of our account is taken. 

Efflgr of a The first on the left, as we tMse the Court, bears on 

^*' his shield three wiater-bougets,* the armorial bearings of 

the De Ros or Boos fieouily — of which he was doubtless 

* Water-bouget was a yesael lused andently by soldiers for holding 
water. 



EXTEBIOE TOWARDS THE NAVE. 47 

a member, though, not the Bobert, Lord de Kos, but- 
named Fursan (d. 1227), as generally supposed. 

This effigy was originally in Yorkshire, and is said to originally in 
have been transferred to the Temple Church, we know y»'*^«^"» 
not for what reason, about the year 1682. "It is 
sculptured in a close, and very durable,- Yorkshire stone, material ; 
called Boach Abbey stone, and is the smallest figure of 
the number. It represents the deceased in chain mail, 
being the only instance of chain mail among these <^"^™« • 
effigies. The head is uncovered, showing a profusion of 
hair ; the eyes look upward, the hands are raised in 
prayer, and the legs are crossed. The head rests on two 
cushions ; the upper and smaller one is of an oval shape. 
The hood is dropped upon the neck and shoulders in the 
form of a ruff. In its former state of dirt. Pennant 
mistook it for a monk's cowl. The surcoat reaches 
nearly to the ankle, and is open in the lower part at the 
sides, and in &ont above the knee, and has sleeves 
extending below the elbow. A narrow belt is feistened 
round the waist with a buckle, and fails below the knee. 
Two small straps confine the mail at the wrists. The 
sword-belt is enriched with four lions' heads, and holes 
are pierced between them for the tongue of the buckle. 
The scabbard is ornamented with a quatrefoil and tipped. 
Ohaussons, or some other protection of a very peculiar 
kind, appear, which, as they are only seen at the knees, 
have been mistaken for poleyns or knee-caps. They 
seem to be strengthened by ribs of metaL Closely fitting 
chausses of chain mail cover the legs and feet. The 
latter rest on a maned Hon. The spurs are single-pointed, 
and are represented as jewelled. The straps are three." found.^"' 
No traces of colour could be found on this statue. 

The next effigy is that of a knight crusader in Purbeck Another 
marble, clad in ring mail, with the legs crossed, and the *^^' 
right hand on his breast. The head is covered with a *** «>«tumej 
hood of ring mail only, the courses of the rings running 
lengthways ; the hauberk and surcoat both fall below the 
knee. The shield is short, with a ridge down the middle 
in front ; the sword-belt broad and studded with nail- 
heads. 

In various parts of the statue were foimd vestiges of a veatiges of 
deep red colour. Mr. Bichardson considers this effiigy, ^^^^' 



i$ 



THE btzanhnb and bomanbsqub court. 



FfBgT of 
WillUm 



CMtlUll6| 



tracM of 
colour; 



Oooffeiy da 
MAgnaTille, 



0MtllID6f 



earliest 
example of 
nrniorlal 
UArlDfv; 



to be that probaUy of Robert, Lord de Bos, sainaiiied 
Fiman ; but we may remark, that his shield affords us 
no help, in this surmise, heraldry being in its infancy at 
the period this statue was executed. 

The effigy beyond this is supposed to represent 
William Mareschal, the elder. Earl of Pembroke, who 
died A. D. 1219. " It is of Sussex marble, and represents 
the deceased in ring nuul, straight legged, and in rather 
low relief." The mail over the hand appears divided at 
the fingers, the only instance of the kind among the 
effigies, though some are of later date. The surcoat falls 
considerably below the knee. It is open in front, exposing 
a ring mail hauberk, and ornamented on the breast with 
a brooch. The shield is not long, and is furnished in 
the upper comer with a copper plug, to which may haye 
been attached the ** Comes Pembroduse,'' mentioned by 
Camden. The guige of shoulder-band and sword-belt 
are broad and plain. The knight holds his drawn sword 
firmly in the right hand, with its point thrust through 
the head of a maneless lion, upon which also his feet rest. 
Bound the cushion, beneath his head, is some pretty 
good foliage. Traces of crimson were found on the 
surcoat, light green on its imder surface, and of orange 
on the lion. 

The last effigy on this side is supposed to represent 
Geoffery de Magnaville, Earl of Essex. '^It is of 
Sussex marble, and represents him in ring maiL The 
hauberk and surcoat descend below the knee. This is 
believed to be the only example of a monumental effigy, 
with the tall cylindrical flat-topped hehnet over the 

hood of mail Strutt (about 1796) represented 

this helmet with a half nasal, covering only part of 
the nose." It does not now exist. The shield is 
believed to be the earliest example of armorial bearings 
in England, and serves to identify the effigy ; since the 
Chronicle of Walden Abbey says, that MagnaviUe 
augmented his family distinction by placing an escar- 
bunde on his shield, which in heraldry is represented by 
eight rays — ^four in the form of a common cross, and the 
other four making a cross saltire. It is represented oa 
a diapered ground, with an additional charge, apparently 
a fess dancett^ 



1 



EXTERIOR TO^yARDS THE l^AVE. 49 

On tlie plintli was found a little light green, and traces of 
traces of vermilion on the under surface of the surcoat. ^ ^"^' 

The first effigy on our right, as we face the Court, is Gilbert 
beheved to be that of Gilbert Mareschal, Earl of^*"*"^^**' 
Pembroke, who died a.d. 1241. "It is of Beigate 
stone, in high relief, and represents^ a young knight in ^**"°^^ ? 
ring mail, with the legs crossed. The head, which is 
covered with a coif of mail, seems fastened by a tie, as 
two ends appear, but no buckle. A strap or fillet runs 
round the face, with rings at intervals. The surcoat is 

long The guige is enriched with small shields. 

The sword-belt is ornamented with bars only. The shield 
is long and plam ; the sword-hilt is in the form of a 
scallop shell. Between the hauberk, and surcoat, is a 
plain thick under-garment, fastened with straps or 
clasps, which appear under the arms, probably some 
kind of haqueton. The feet are treading on a winged 
dragon, which is biting the spur strap of the left 

foot There remained some traces of colour, which iMcesof 

showed the face to have been delicately tinted; the/^^""^- 
surcoat, gilt ; the scabbard, red ; the spurs, gilt ; the 
spur straps, red ; the dragon in parts green, its jaws 
red ; the band over the brow and the ground of the 
guige, blue ; the lower part of the shield gilt, but 
without the appearance of any device on it." 

The next effigy to it is supposed to represent William wiin«m 
Mareschal, brother of Gilbert, who died in 1231. It is Mareschal, 
also of Reigate stone, and represents a youthful knight 
in ring mail, cross-legged, in high relief, and elaborately 
sculptured. 

The cushion is peculiar, as resting on an embattled costume 
tower, with sloping walls. The hauberk is rather short 
and a little opened at the lower edge. The surcoat is 
long and flowing ; the various belts are plain ; the shield 
is shorter than the others, curiously raised firom the 
breast at the upper comer, by a squirrel, and charged 
with the armorial bearing of the Pembroke family, a lion 
rampant. Chaussons, or breeches of some stout material, 
cover the thighs and knees, and are secured below by a 
narrow strap and buckle. . The spurs are nail-like and 
have three straps, like those of de Ros, the spurs of 
the other being fastened with a single strap. 

E 



CO 



THE BYZANTINE AND EOMANKSQUB COUKT. 



tmcei of 
Culunr. 



EfHgy of a 
kuight, 



p^culfur 
iirmour ; 



cof tnixio ; 



frncfH of 
coluur ; 



ramo 
unkiioira. 

KtRgy of a 
kitigbty 

costume ; 



Traces of delicate colour remained on the face. The 
embattled tower had some red on it, the mouldin^^ 
some light green. In longitudinal recesses on the aides 
of the cushion were found fragments of blue or violet 
coloured glass. The ring mail bore traces of gilding 
throughout, except those rings which passed oyer the 
narrow bands at the coif and wrists, which appeared to 
have been blue. The buckles, spurs, and squirrel had 
been gilt. Some traces of red were on the field of the 
shield, but none remained on the lion. The outer surface 
of the siu'coat had been crimson lake, the imder side light 
blue, there remained some red on the edges of the belts, 
and some orange on the plinth near the feet. 

Beyond it is the effigy of a knight in Purbeck 
marble. The armour is remarkable as being cut 
regularly and lengthwise ; it is doubtful whether this is 
a conventional method * of representing ring mail, or 
mascle armoiu:, the- mascles being set together edgeways 
like the rings. " The head and neck are covered with 
a hood of corresponding mail, and instead of the ' Coif 
de Mail,' the top of the head is covered with a low 
convex cap or coif, apparently of plate, and banded." 
The hands are joined in prayer, the shield is long and 
somewhat rounded at the foot. The surcoat and 
hauberk are of nearly the same length, and the feet 
rest on two grotesque heads, with woolly hair and 
thick lips. 

On the surcoat were found traces of light green, and 
a spot or two of gold ; the head cushion was crimson lake, 
perhaps chequered ; the waist-belt red ; spurs gilt ; 
spur-straps red ; the hair of the grotesque heads brown, 
and their Ups red. 

This statue is at present imappropriated. 

Next to it is the effigy of a knight, in Purbeck 
marble, clad in ring mail ; the eyes are closed, and the 
hands and legs crossed. The head-piece is of plate 
metal, leaving only the eyes and nose exposed. The 
head rests on an oblong flat cushion. The surcoat is 
without folds over the shoulders, and appears to be . 
qmlted or stuffed ; it descends below the hauberk, and 
is open in front. The sword, as in the case of two 
others, is on the right side ; and Mr. Stothxrd considers 



EXTERIOR TOWARDS THE NAVE. 51 

this the sign of a very early date, but probably without 
sufficient reason. The ring mail throughout is in large 
coUs, and deeply cut. On the surcoat was found much 
gilding, and «mall traces of red on the edges and under traces of 
surface ; the head cushion was crimson lake ; the spurs colour; 
gilt ; and the spur-straps red. name 

This effigy is also unappropriated. unknown. 

The dress of the Templars, as ordained by Pope J^JpUre''^ 
Honorius, A.D. 1128, besides the ordinary armour in use 
at that period, consisted of a white linen coif with a 
close-fitting red hood, and a long white mantle, to 
distinguish them from the HospitaUers, who wore black 
ones. On the left side of this mantle Pope Eugenius III., 
A.D. 1146, appointed a red cross to be borne : this red 
cross was also worked on the banner, which was half 
black and half white, and was called '^ Beauseant,'' said their 
to be symbolic of peace to their friends, and death to their banner 
enemies. 

Of the eight effigies, six are cross-legged, but this 
does not necessarily prove them to have been even 
crusaders. 

This celebrated order of knights was instituted under ^^'S^^^^:^;^, 
the patronage of Pope Honorius, about the year 1118. 
The original founders were Hugh de Paganis and fou^^ra ; 
Geoffirey de St. Audomare, or Omer, with seven other ^^ 
knights, and they were called '^Pauperes Commilitones " poverty; 
of the Holy Sepulchre, professing to have no other means 
of existence than alms. They became finally notorious subsequent 
for their enormous, wealth, their power, their pride, and""'*^'^^ 
their more than doubtful morality. In 130T, the 
order was abolished in France by Philip-le-Bel, and ^o'rder^^ 
in 1312, Pope Clement issued a decree commanding 
its entire abolition. This suppression was accompanied 
with much cruelty and persecution, perhaps not altogether 
imdeserved, and the great wealth of the society was power of tiie 
confiscated, its property being appropriated partly by HospUaiicrri. 
the various governments, and partly by the rival society 
of HospitaUers, who derived increased power by the fall 
of the Templarv. 



£ 2 



FACADE OP THE BYZANTINE COURT. 53 



THE BYZANTINE COUET. 



^ The arcade which forms the fa9ade of the Byzantine s. M. in 
Conrt, is taken from the cloisters of St. Mary in Capitolo, cotognedate 
an ancient church at Cologne, the date of the construction of construe- 
of which is ascribed to the eighth century, the cloisters ^"' 
not being completed, however, until the close of the sters ; 
tenth. The bases are of a pure Attic character, and the 
shafts of the colimms, though short in themselves, 
harmonise in their massive forms with the large super- de>«cription 
imposed capitals and brackets, which are truly admirable of the part 
for the boldness of their sculpture, and the artistic ^^'^^ " ' 
disposition of their outlines. 

On the first capital, to the left of the spectator, we 
remark that treatment of foliage peculiar to the 
Byzantine style, with sharply edged stems, producing in 
some parts the effect of incised triangles. 

The next capital to it is distinguished by double- 
headed dracontine animals forming its angles, by 
foliage cut in very full relief, springing from a finely 
curved stem — very different to the mere indication of a 
stem which marks the first capital — and by a broad- 
beaded necking. 

The third capital presents a graceful arrangement of an 
Egyptian character, the leaf being that of an aquatic 
plant. 

The fourth resembles the second in the character of 
its ornament; but the angles are marked by knobs of 
foliage which give it a very different outline to that 
of its companion. Its necking is formed by a cable 
moulding. 

These four varieties are repeated in the other capitals 
of the arcade ; and the large imposts or brackets which 
sxirmoimt them, are ornamented chiefly with flat inter- 
laced work, of a Lombard character. 

In the churches of the early Bomanesque period, these succesBive 
imposts, above columns, are a characteristic feature ; jJ^^JJIfg over 
originally, however, -they had a convex, and not a column*. 



THE BTZASTUTB OODET. 

concave outline, taking s cushion form. As the style 
ftdrftnced, ttey were gradually diminiahed and altered. 



A Cipllil, Cram (he Cloliten at S. U, la CdpllDlci, CclogiM. 

BO as to become little more than a flat slab with the 
lower edge bevelled, or cut in a slanting direction, 
exhibiting a more or less palpable recollection of the 
classic eutablature, aa they were more or less imme- 
iliately derived from antique models. The great variety 
of these capitals, and their boldly worked sculpture, 
afford a good idea of the capabilities of the etyle, and the 
excellence of its artist- workmen, 
iiinhrraf The Church of S.M, in Capitolo, was biiilt aaits name 
liolo ''* denotes, on the site of the ancient Soman Capitol at 

Cologne, a city which was the seat of the Franco-Boman 
power, and which whs remarkable as the spot, in the . 
whole Cisalpine district, in which the Latin inflnence 
and traditions were longest retained. The wife of Pepin 
I'Heristal founded the present church, and for that 
purpose destroyed the remains of the Roman CapitoL 

The cloister was built in the tenth century, as 

notified in the will of Archbishop Bruno (who died in 

the year 965), in which he apportions a sum of money 

for its completion. 

intonitrnR The church itself is one of the most interesting in 

"iS'nr'^'" Europe, and was the model on which most of the 

H'i*°"w churcheB in the fihenane provinces were built. It 

presents in its plan and ornament a combination of 

the Boman basilica and the Byzantine church. 

The walls above the piers of the present reproduc- 
tion of its leading features, are ornamented with varioua 



FA9ADE OF THE BYZAHTISB COUET. C 

portraits, <&c., of the Byzantine period, wlected as Byciniine 
authentic illuBtrations of tlia art and gorgeons costume P"""!"' 
incidental to the style. 



The first one, at the left angle, towards the nave, chulM 
is that of Charles the Bald, King of France, by whom ^'''''' 
more was done to encourage Byzantine art in France, 
than by any other sovereign : his portrait has been. 
obtained from the frontispiece of a Bible, preeerred in 
the itoyal Library at Paris, and known as the Bible of 
" Charles le Ghauve. " 

Charles, on the death of his father, Louis le liia Hie, 
DAiOQaaire, in the yeai 840, after much intrigue and 
a short war with his brothers, Lothaire, Louis, and 
Pepin, succeeded to the goTemment of Neustria, or 
the north-western portion of France, with Paris for its 
cajotal, and to that of Lauguedoc and the marchea of 



CO 



THE BYZANTINE COURT. 



hU dnufflitor 
Judith, the 
mother of 
King Alfred. 

Portrnlti of 
i)imtiiiittn 
And 'J'heo- 
dora. 



Date of the 
orlKliiiil 
nuiHAic por- 
traitrt at 
Kaveiinoi 



costumes. 



His reign is chiefly notable for the numerous and 
destructive descents made by the Normans on the coasts 
of France. In 869, his consort, Hennentrude, dyin^, 
he was remarried to Bichilde, sister of Count Boson ; 
and on the death of his brother, the Emperor Louis, 
in the year 875, he laid claim to the imperial crown, 
went to Home, and was crowned there by the Pope 
on Christmas-day in the same year. On his return to 
France he stopped at Pa^da, and was crowned King of 
Lombardy, with the celebrated iron crown now preserved 
at Monza, and last used for the coronation of Napoleon. 
This dignity, which was little more than nominal, he 
enjoyed but two years, his death occurring at Vercelli, 
in Piedmont, in the year 877, at the age of fifty-five. 

Etholwulf, the father of our Alfred the Great, married 
Judith, the daughter of Charles the Bald. 

On the left of the entrance, from the nave, is a 
portrait of the great Emperor of the East, Justinian, 
under whom Byzantine uii reached its highest and most 
gorgeous development. This, and its pendant, Theodora 
his empress, are from the large mosaics at the Church, 
of San Vitale, at Eavenna in Italy, executed during 
their lifetime. 

The Justinian Code, or Pandects, evince the merits of 
Justinian as a legislator. He was a great builder, and 
twenty-five chmrches, in Constantinople alone, owned him 
as their founder, the most magnificent being the celebrated 
Church of St. Sophia. Bridges, fortifications, hospitals 
and palaces, bore witness to his wise generosity, and 
somewhat justify his title of "reparator orbis." His 
attention was extended to all subjects ; and he laid 
claim to consideration as a poet, philosopher, theologian, 
architect and warrior. Procopius, secretary to Belisauius, 
is the gi^at historian of his reign, and recorder of his 
architectural exploits. 

The church from which these mosaics are taken was 
built by Justinian's treasurer, between the years 526 
and 539, to which period,- or somewhat later, they may 
be ascribed. They represent the emperor and empress, 
with numerous attendants, proceeding to the dedication 
of the church, and bearing oblations. Justinian has on 
his head, the oriental jewelled diadem, and wears the 



PAgADE Of THE BYZANTINE COURT. 57 

purple DaJmatica, adopted by the Byzantine emperors. 
Theodora is distinguished by the imperial diadem, an4 ' 
a purple mantle, with a broad embroidered border. 

The last figure on the right, representing the Emperor Portrait of 
Nicephorus Botoniates III., is taken ^from a Greek MS. BotonisSes* 
of the eleventh century, preserved in the National 
Library at Paris, and has been selected as affording an 
authentic illustration of the richest Byzantine costume. 

Botoniates and Bryennius were two generals of the wa usurpa- 
Emperor Michael Ducas, who commanded the eastern J*^"^.'^'® 
and western divisions of the army. They both revolted 
in the year 1078, one at Adrianople, and the other 
at Nice. Bryennius was at first successful, and made 
himself master of Constantinople, but the populace 
shortly declared for Botoniates, who, backed by an 
army, composed principally of Turks, forced Michael 
to resign, and was immediately proclaimed emperor. 
In a very short time, however, the army, led by the 
Comneni, who acted as his generals, revolted again and 
in 1081 Botoniates was forced to resign, and sought 
refuge in a monastery. He was succeeded by the snooeeded by 
celebrated Alexis Comnenus. ;\^JjJf ^°" 

The figures on the return side of the Court, proceeding 
to the gallery, are, first, an allegorical figure of Night figure of 
(inspiring Ezekiel), from a Greek Psalter of the tenth ^^s^** 
century, preserved in the National Library at Paris — '■ 
one of the finest and most poetical examples of 
Byzantine art extant, clearly showing the extent to * fi*»e «^- 
which the antique types were occasionally retained by in the tenth 
the Greek artists. century. 

In the centre, a Virgin and Child, from an ancient The Virgin 
painting, formerly in the possession of M. Saintange, *"* Child, 
at Paris, exhibiting those characteristics upon which, 
through Cimabue and Giotto, all modem painting has 
been based. 

A female figure, representing Day, slightly altered An aiiegori-. 
from a mosaic on the facade of the Church St** Maria in Da^?!romh 
Trastevere, at Rome, of the middle of the twelfth century, 
century, when the Italians commenced their celebrated 
revival of the old Greek ^ of mosaic, completes the 
series. 

An excellent point of view, of which the adjoining 



THE BTZANTIKE COIJeT. 

sketdi in&f serve to give ftn idea, is obtained bj taking 

' tiie arcade between these two figures, as the foregromid 

plane, and lixddng past it into the interior of the court. 



'loir thnmgli tlie prineliwl entmue In ByuotlM Conrt, Korlh Tnniept sldo. 

e front of the Conrt 

THE CLOISTEB8, 

and proceed to examine the pieces of ornamental sculpture 
a on the piers, which are examplea of a stjile of ornament 

peculiar to Constantinople and Venice. 
I, The angle piers are covered with a roughly-worked, 

but well-defined piece of vine-foliage, springing from & 

vase, finishing at the top with a pomegranate, friHn St. 

Madc'e at Veiiice. The vase of water and the vine were 



THE CLOISTERS. 59 

common ssrmbols in the early Chnrch, of the Holy Ghost 
and the Saviour, being in allusion to the passages, 
^' The water which I shall give him shall be in >iiTw 
a well of water, springing up into eternal life'' (John 
xiT. 14), and "I am the vine," *' I am the true vine" 
(John XV. 1, 6). 

The pomegranate is not of common occurrence on 
Ohristian monuments, but among the heathen it was an 
emblem of Venus, and its application was known to the 
early Fathers. It is also used symbolically among the 
Oriental races. 

The remaining ornaments on the piers are also from 
St. Mark's Cathedral, at Venice. 

The last piers to the right in the cloister arcade, are 
ornamented with the statues of St. G^eorge and St. st George 
Theodore, from the Church of St. Mark, at Venice. Mark'ti/von- 

That to the left is a spirited representation of St. ^^' 
George, completely clad as a Boman knight. The horse 
is well designed, and the detail of the armour, saddle, 
&c., quite in the style of the later ^^quattro cento" 
artists. The folds of his flying mantle are particularly 
well managed. 

The dragon, winged and scaly, is transfixed through 
the throat by the knight's spear, but with one of his 
£ront claws appears to wound the hoof of the charger. 
In its emblematic character of the triiunph of humanity 
over Satan, this alludes to the prophecy that ^^ it (man) 
shall bruise thy head, and thou shalt bruise his heeL" 
(Grenesis, iiL 15.) From the upper comer to the right 
issues the hand of the Deity, with two fingers extended 
in the act of benediction. The sun, moon, and stars 
symboUse His creative power. 

On the right-hand pier is represented St. Theodore, st. Theodore 
mounted on a charger, and transfixing the diagon with Jj^'^.gV 
hiB lance. A nimbus surrounds his head, and his spear 
is directed by an angel. He is dad in a similar 
costume to that of St. George, and bears a shield, 
charged with a budding triumphal cross, or cross fl&wriy 
supported by the symbols of the four evangelists. 

St. Theodore Tyro was a young Syrian soldier, who his martyr- 
suffered martyrdom during the persecution of Maximin ^<*™* 
(a.d. 235), and was in much &,vour with the eastern, or 



tfO THE BYZANTINE OOURT. 

Byzantine Church. A chapel was built to his honotir, at 

Yenioe, by Naraes, the victoiiona general of Jnsiiniaii, 

A.D. 553. and St. Theodore continued to be the 

patron saint of Venice until the year 828, when, on the 

translation of St. Mark's body from Alexandria to 

Venice, he was deposed for the honour of St. Mark's 

protection. The statue of St. Theodore standing on a 

crocodile, or dracontine animal, surmounts one of the two 

columns of the Piazetta of St. Mark, and is familiar to 

all who have visited that city. 

German The rich and massive columns of the> internal facade 

TOitnmn?^"* of the arcade, are from Gelnhausen, in Suabia, and are 

from Gein- fine examples of the florid Glerman Romanesque style. 

We would particularly draw attention to the deep and 

boldly cut ornament of the shafts, with their symbolic 

Sw^tein- ^^^ grotesque sculpture, and the close resemblance 

flaenoe. exhibited in the capitals to Saracenic work. 

Effigy of The first recumbent effigy, on entering the arcade from 

from Roaen, the nave, and proceeding to the left hand, is that of 

Bichard Coeur de lion, from Kouen Cathedral 

It was well known that up to the year 1734, the 

effigy of Kichard, marking the spot where his heart 

was deposited, existed at Bouen Cathedral ; but during 

some repairs and alterations which occurred in that year, 

it mysteriously disappeared. Satisfied that it was still 

its d!s- there somewhere, M. Deville, the distinguished Norman 

in\^ ; antiquary, caused a close search to be made in the year 

1838 ; and excavations being carried on under his 

directions, near the spot where the heart had been 

deposited, this statue was found embedded in a hard 

and compact mass of mortar. All the cavities of the 

drapery were filled in with cement, poured over it to 

form a solid substratum for the new pavement of the 

choir. In a cavity of the wall, formed on purpose to 

receive it, was found the i^asket, consisting of thile 

leaden boxes, on the innermost of which was the 

inscription, " Hio jacet Cor Ricardi Regis Anglorum."* 

cSour fouud ^® colour, SO foT as could be ascertained by remaining 

on it ; fragments, may be thus described : the hair of a sandy 

* ** Here lies the heart of Richard, King of the English." For 
fiill partacnlars of this discovery see an elaborate paper, by 
Mr. Albert Way, in the ** Archaeologia." 



THE CLOISTERS. 61 

red ; the crown gilt and inlaid with lewels ; the upper 
mantle fastened over the breast and thrown over the left 
aim, blue ; the under tunic, reaching to the ankles, of 
a rich red ; probably, as well as the mantle, diapered in 
patterns intended to represent the rich Samite, or other 
elaborate tissues then in vogue ; the girdle at the waist, 
blue tissue with alternate bars and quatrefoils of gold, 
and furnished with a richly chased buckle and pendant ; 
there are no jewelled gloves (the insignia of royal rank) 
on the hands ; and in place of buskins, the feet are 
covered with shoes of some embroidered material, cut 
low on the foot, and fastened by latchets. 

The head rests on a cushion of a bright red colour, description 
with a gold diaper pattern ; and the feet on a lion, ° ***®® s^' 
crouching on what seems to be round pebbles, or a rock, ' • 
in a cavity of which is seen the head of a hare or rabbit, 
and above which is a dog warily watching it. At one 
side is represented a large lizard ; and on the other, a 
bisd, apparently a partridge or quail. Of these sculptures 
no satisfactory explanation can be given. There can be 
little doubt, that it is the statue of Richard ;— agreeing, {{cify |^®°" 
as it does remarkably, with the engraving made of it 
prior to 1734, and published in the second volume of 
Montfaucon's " Monarchic Fran9oise," (pi. xv). Mr. 
Albert Way, who has carefully investigated the 
evidence relative to this effigy, is of opinion that it was 
executed during the early psurt of the thirteenth century ; 
and probably under the episcopate of Archbishop 
Gautier, by whom the cathedral was restored, after the 
great conflagration in the year 1200. 

The present statue is not supposed to be a faithful not a por- 
portrait, since it does not agree with* the effigy at *'*^** 
Fontevrault, nor answer to the descriptions which have 
been left to us of Bichard. 

Beneath is placed an altar frontal, from the collection description 
of the late Mr. Cottingham. froma?/'" 

In the centre is represented Jesus seated on a double ^^^^^xJ*®" 
rainbow, without the usual nimbus, and enclosed in ef&gy; 
an aureole, or vesica piscis, the spandrels of which are 
fiUed in with the emblems of the four evangelists* — 

* These emblems were also occasionally used to typify the four 
Doctors of the Church. 



aJ THB BYZANTINE COURT. 

the eagle of St. John, the angel of St. Matthew, the lion 
of St. Mark, and the ox of St. Luke. 

Six figures, probably the Apostles, are ranged in 
niches on each side ; amongst whom, although much 
worn by time, we recognise the statue of St. Peter with 
a key ; St. John with his chalice ; St. Andrew with 
the peculiar cross called after his name ; St. Matthias 
with his hatchet ; one apparently with a dub ; St. Juda 
Four more carry a s§coTd and book each. Two have 
books clasped to their breasts ; and the remaining one 
wears the pilgrim's cap and scallop-shell, which distin- 
guish St. James the Greater, (Sant 'lago, of Compostella). 
This arrangement for altar frontals was common 
coQtinuanco during the Romanesque period throughout Europe, and 
design;"^^^'^'^ was handed down with little alteration to the Kenaissanoe 
its date. period. The date of the present one would seem to be of 

the twelfth century. 
An account '^^ ^^'^ frontal, or antependium, was originally a 
of altar hanging, placed over the front of the altar as a prot«c- 
lonta a, ^^^^ ^^ valuable relics deposited beneath. They were of 
three kinds : — 

1. Of precious metals, adorned with enamels and 
jewels. 

2. Of wood painted, gilt, and inlaid. 

3. Of cloth of gold, velvet, &o. 

thcmoBt "^^ three most celebrated ones are at St Mark's, 

ceiebrattd Venice, the well-known "Pala d'oro;" that of St. 

e»^P>''»*' Ambrose, at Milan; and one till lately in the Cathedral 

their disuse, of Basle, in Switzerland, and now in the H6tel Oluny, 

at Paris, all three being in gold, and remarkable 

works of the Byzantine period. In the Ptotestant 

Church, the object for which they were applied ceasing 

to exist, they fell into disuse. 



INTEBIOE OF THE COUKT. 



EismplB of Bjiutlu Ai«lil(«(nTB tma Uu Chunh of tfa« TuUteh, 

THE IHTEaUOR OF THE COUBT. 



The Bnull arcade over th.e cloister-arches, as we Tiu mail 
advance into the Court, is composed of capitals takes xba ■»£•*' 
tnan various churdiea in the Rhine provinoee. They JSJL^ 
&re mostly cubical in fonn. The &st oa the left door. 
pi«Bents Roman reminiscences, having the ram's head 
at each angle, the horns, from which depends some 
drapery, giving a hint of the Ionic order. Tbo fifth is 
remarkable for its corbelled abacus. The eighth 
reeembles closely the angle ca^tal of Eilpeck door 



M 



THS BTZAKTINB OOURT. 



Th« Kilpeck 
doonraf, 



its date. 



Influence of 
the old Celtic 
school of 
omiunent, 



its symbol' 
imn de- 
scribed by 
Mr. G. R. 
Lewis. 



beneath. The eleventh, with serpents devouring men's 
heads, typifies the destruction of man by his evil passions. 
The thirteenth symbolises the Holy Spirit, and the last 
is a type of a very ornamental class of capitals common 
in the florid German Romanesque churches, at the 
commencement of the thirteenth centmy. 

The first doorway on the left, as we advance &om 
the cloister arcade, is from the Church of Kilpeck^ in 
Herefordshire, a village about eight miles from Hereford. 
The present church was built probably about the year 
1134, by Hiigh son of William Fitz Norman, lord of 
Kilpeck castle. In that year, according to the register 
of the Abbey of Gloucester, the said baron gave St. 
David's Ohurch, Kilpeck, and the Chapel of St. Mary 
de Castello"to God, St. Peter, and the monks of 
Gloucester." 

We observe here the evident influence of the old Celtic 
school of ornament, in its prominent lacertine forms ; and 
the angle heads of the right-hand capitals bear a striking 
resemblance to some in the old Irish churches. The 
costume of the figures, interwoven with the foliage of 
the shaft on the left, is that of Anglo-Saxons or Danes, 
their long hair and beards being also characteristic of the 
islanders, in contradistinction to whom, the Normans 
cut their hair and shaved, or tried to shave, their 
faces. The left hands of these figures are made much 
larger than their right, a common custom in the rough 
sculptures of the same style. ^ Mr. G. R. Lewis has 
written a minute and highly ingenious description of 
this little church (Pickering, London, 1842), in which 
he discovers throughout a deep symbolic meaning, and 
from this work we give the following extracts : — 

*' The beautiful and highly iutelligent design of the 
* door and the way,' contains the leading features of the 
Old and New Testament most skilfully arranged. The 
open part or entrance is the long upright beam or body. 
The space above, whicK contains the tree, is the short 
beam or head ; and the two horizontal portions, one on 
each side, and which are filled with crosses, are the 
arms. Viewing these parts when taken together," we 
have the Cross On farther contem- 
plation of this religious work we find that the Alpha and 



INTERIOR OF THE COURT. ^5 

Omega is contained therein, and that the trees of life 
and knowledge, of good and evil, are there, designed most 
appropriately. The tree of life is^ placed in the head of 
the cross over the entrance, and the tree of knowledge 
on the columns on each side of the piers. The tree of 
life is divided into three jirincipal parts symbolical of 
the Trinity, the centre or head, and two arms, 
preserving the cross form in the design. The head is 
divided in the same manner, into three parts, a head 
and two branches : the branches are represented as the 
fruit arising out of the head, producing again the cross 
form. The two branches of the first division are 
divided into eight parts, seven of which represent 
foliage, in allusion to the beginning (Gen. ch. 1), of the 
number seven, and the one fruit.'' "In this arrange- 
ment of the tree of hfe, the designer makes it to 
contain in the head, the Trinity, and in the two 
branches, the natural and spiritual world — ^the Alpha 
and Omega. The stem of the tree is made to proceed 
from a foundation of light, which the angular forms at 
the base of the tree are designed to convey." We have 
not space to follow Mr. Lewis farther and deeper into 
the recondite symbolism here expounded, and can only 
add that he regards the two figures at the side, which 
he describes "as men in armour" — ^the one with the 
mace, to designate the Church, and the lower one with the 
sword, to signify the State, the cord above, to show that 
they are tied together. We may here observe that the 
question has been raised, whether these roughly carved 
figures are in armour at all, and in the opinion of the 
learned antiquary Mr. Rokewode, they represent "Welsh ^^''jJjlJ"' 
knights," though why Welsh knights, or knights at aU, wode on the 
we cannot exactly see ; and as figures very similarly JSJjJ 
attired, occur frequently on the monuments of this 
court, we may observe that the rayed linen vest, 
puckered in a ring-like manner, the girdle at the waist 
with pendent ends, the trowsers, the conical-headed cap, 
the double axe or mace, the long and large sword, the 
long* hair and bearded chins, are aU characteristic 
fashions of the Anglo-Saxons and Anglo-Danes — tbeir oo»- 
fashions which the arrival of the Normans by no Sroof An-**" 
means suppressed, and which, in the parts least affected gi't-Suoiu* 



TEB BTZAKTINR COUBT. 

hy tiieir influsiiM, wan retamed bf ■ peofde Iwstale 
to thsir Tul«, When thiu introduced in aidiit«ctiii»I 
omMnenti, we ue inclined to peroeive therein the hutd 
of A native wtiat, our opinion being strongl; oonfiimed 



Bnilf tuied flguTM tconi Ui> KUpMk laarwtj. 

hy the nidenees of their eiecotion. It m&j not be 
altogether fanciful to suppose, that the fioquent impri- 
Bonment of such figures in bougha and foliage, and 
the general expression of stem grief depicted on their 
oriiHAngia- faces, may tacitly express their sense of thraldom under 
ihoNomi" *''^ Norman sway, and the constant refuge they wer« 
■iti}-. forced to take in the wilds of the pathless foreats, 

which then covered the land. Among the most 
interesting features of Kilpeck Church must be included 
Ths solaur- the circumstance of its having been originally decorated, 
pKkUh»rcii ^"^ externally and internally, with colour and gilding, 
' Unfortunately these relics of a system of polyohromy, 
once (if we are to believe the Saxon poets and chroni- 
clers) in common use, but of which now very few 
vestiges remain, have entirely disappeared ) and if Mr. 
■ Lewis hod not fortunately made a series of very careful 
studies, previouii to their obliteration, we should have 
entirely lost the important twiroboration they afibrd 



INTBEIOE OF THE COURT. 91 

to those coocltudous, reBpeding tb» dm of colour in 
each early moniuDenta, which have boen foimded on an 
cTMiiiTiittioii of the Anglo-Saxon mtmuscripts, in whicJi 
architoctural features are almost imiTeraalljr expresBed in 
Taiious tints. Mr. Lewis, with great kindness, allowed 
his studies to be made use of, and upon them, not only 
bas the polychromy of this doorway been restored, but bmuled on 
on a comparison of tiiem. with the system of colouring, ^^^^^ 
of which actual remains abound in France and Italy, 
the whole colouring of the remaining doorways in tlUs 
Court has been based, 
. The arched corbel table over the doorway, is from A ™it»i 

" Ublaftom 



QrolBiqiie Ignm from th« Corbet tMt, Sobmt Ahber 

Bomsey Abbey. This is an example of the later Norman 
style, in its transition to the pointed style, having 
interspaces of a trefoil p<»nted fomi. The grotesque j|[^^j^ 
figores from which they spring, aie choraoteriatia tun, 
examples of BuU sculpture, whether. Lombard, Hthenish, 
or Konnan, in whidi, with figures more or less symbolic 
of divine matters, are mixed np the fondes, and often 
the coarse jokes, of the rude artist, of which the 
aocomponying wood-cut serves as an illustration. The 
belief in the existence of men whose' faces were placed 
on their breasts, was oranmon down to a much later 
period, and is mentioned by Bhak^ieare as "men 
irtioae heads do grow beneath their shoulden." 



«8 THB BYZAKTINB COUST. 

A notice of BomMy Abbey was founded dloing the Saxon 

A bbflT^ role ; the greater part of the present church was built at 

the commencement of the twelfth century, and the west 

ProUbie ®^^ ^ ^^ reign of Henry HI., circa 1220 ; to this date 

lUtaofoorbel the corbel table appears to belong, 4is well as varions 

jEragments of architectural ornament placed at the rear 

of the court. 

Intorwtlnf The piece of sculpture above this, is one of the most 

um^from^ interesting pieces of early date in England ; it was 

ChtehMtar. discovered of late years, in Chichester Cathedral, where 

it is now preserved. The subject is the raising of 

Lazarus, but unfortunately the various stones forming 

the bas-relief, have been displaced in the process of 

translation, either anciently, or recently, and all the 

parts of the group do not satisfactorily correspond with 

one another. The large figure, whose head is endrded 

with a cruciform nimbus, represents Christ, with two 

fingers raised in benediction above the half-clothed figure 

of Lasarus. An .antique spirit is evinced in the 

An influeno* disposition of the folds of the drapery, and is strikingly 

from anttqoe manifest in the two uppermost heads on the left side, 

Son 'Sym- 'v^oh seem to be close copies of antique Roman 

tine. masks. The eyes appear to have been drilled to 

receive jewels or enamel, a very usual custom in the 

Byzantine school ; and we would draw attention to 

the marked difference between the large open eyes of 

the Kilpeck, and Shobden statues, and those of the 

above figures. Indeed, the whole style is different, 

and evinces an artist acquainted with antique sculpture, 

and influenced by the spirit of Byzantine art 

A bnineh of It ig not uninteresting to remark, that in the year 

bi'ated Abbey 1078, a priory was founded at Lewes, in Sussex (not 

fonnSn ^ ^"^ Chichester), by the first Earl of Warren, who, 

1078 at having visited the. celebrated Abbey of Cluny, in 

i^w0H. Burgundy, induced the abbot, after much solicitation, 

to send over four of his monks to that priory, which he 

boimd himself to endow especially for their advantage, 

and which remained a depend^cy of the Abbot of 

Cluny, up to the year 1373. The result of this 

oonnection could hardly have been without its influence, 

PoMtbiein- m^ it is not improbable that these monks may hiave 

abraui. ^ brought these bas*relLe& with them, if they did not them- 



IJSTTBRIOR OF THE COURT. 69 

selves execute them. Possibly, however, they may have 
been brought from the ancient church, on the transla- 
tion of the see from Selsey, to Chichester, and may date 
from a much earlier period. 

The large doorway which comes next, is from the ThedoorwAy 
Cathedral of Mayenoe on the Khine. It exhibits, says JJIScatSe- 
Professor Miiller, the imposing and graceful Romanesque dmi, 
style of the twelfth centuiy, as practised in the Bhine 
districts. Boman models are pretty closely followed 
in the mouldings ; the bases are of the kind called 
*' Attic ;" the capitals are bell-formed, and tastefully 
sculptured. The lions which guard the entrance, are 
in this case placed over the columns. Their more usual 
position is as a plinth to the column, and in some cases 
they are found both beneath and above ; their precise 
Symbolism is still unexplained, and they are peculiar to 
the Bomanesque style. 

The head in the centre of the upper arch meaaiog of 
motdding, is probably intended to represent God the turo^"*^ 
Father. Beneath it is seen the Holy Spirit, or dove, 
descending on Christ, who sits enthroned in an aureole, 
with the Spirit of Evil under his feet. His head is 
encircled with a cruciform nimbus ; one hand is raised in 
benediction, the other holds the Scriptures. His 
costume is purely Greek, and the whole design bears 
a close resemblance to the Greek illuminated portraits 
of the eleventh century. This doorway was erected in , . 
4ihe reign of Lotharius of Saxony (1126), by Willigis, oonstmctton 
Archbishop of Mainz. 

The bronze doors which it encloses are from the Bronze doors 
Cathedral of Augsburg, Southern Germany, the work bunJ,^"'" 
of local artists, in the latter half of the eleventh century, 
and ascribed by different antiquaries to the years 1048, 
1070, and 1088 ; the second date is that given by probable 
I>r. Kugler, and is most probably the correct one. **"**** 

This interesting monument of metallic art would appear, 
both from the rex)etitions of one subject, and the character 
of the sculpture, to have been cast in a mould, and not cast and not 
beaten out, as some have supposed. From technical ▼roug^** ; 
peculiarities in the metal working, there is reason to 
believe that most, if not all, similar remains in Germany, 
were cast^in open sand-moulds. 



70 THB BTZAiniKB COVBT. 

dftwripiioa "^^ sabjects in the panels occur without regard to 
oTthepaaeis. e]irofnologi<al order, and in some cases are difficult of 
explansAiioiL 

The figure in the lowest small panel, to the left, repre- 
sents the creation of Adam. The next above it, the 
creation of Ere out of Adam's side. In both cases the 
head of the I>eit7 is encirded with a plain nimbus. 

To the ji^i of this is shown the tree of knowledge of 
good and evil, with the serpent. To the left. Eve in the 
act of eating ihe forbidden frnit ; and in the panel beneath 
she appears to npbraid the serpent. 

l%e remaining panels of the three lower compartments, 

probably r e pr e s e nt Adam sowing seed in the earth, and 

Eve feeding fowls ; in both cases they are clothed, and 

the intention is to express their condemnation to labour, 

after the Fan. 

The Ustorr This application of the history of oar first parents, as an 

ir^eam^ omament to the entrance doors, was continued down 

fieqaenayon to a very late period, and occms very frequently. The 

^Sn^^ symbolinn by which the door of entry to the Church was 

connected with the sacrament of baptism, having been 

originated in the early ages of the Chtirch, it was natural 

that afanost every external doorway should exhibit an 

allusion to that fall, by which original sin was brought 

into the world, and against the fatal results of which, 

Uie reason. ^^ Church offered its infallible antidotes and correctives. 

Taking the left-hand panels, and proceeding upwards, 

the first subject is Samson slaying the Philistines, witfi 

the jaw-bone of an ass. 

llie next is a Centaur, probably a mythological 
renmusoenoe of heathen times. The third panel contains 
Samson slaying the lion : *' And he rent him as he would 
have rent a kid, and he had nothing in his hand." 
(Judges xiv. 6.) 

The fourth subject is obscure. 

The next small panel represents Moses, with his rod 
turned into a serpent : " And he cast it on the ground, 
and it became a serpent." (Exodus iv. 3.) 

The one beneath appears to represent the production 
of Aaron's rod, which ^' brought forth buds, and bloomed 
blossoms and yielded almonds." (Numbers xvii 8.) 
The subject of the next is too obsciue to be determined. 



INTEKIOB OF THE COlTM. Tl 

Beneath it is the miracle of Aaron's rod : ** For they 
oast down eyeiy man his rod, and they became serpents ; 
but Aaron's rod swallowed up their rods.'' (Exodiu 
▼iL 12.) 

On the next panel, to the right, is seen a Jewish 
warrior crowned, probably meant for Joshua, who, with 
outstretched ami, commands the sun and* moon to stand 
stilL Above this is a Hon, possibly allegorical of " the 
lion of Judah." Next to this is what appears to be the 
story of Elijah fed by ravens : " And the ravens brought 
him bread and flesh in the morning." (1 Kings xviL 6.) 

The subject of the top panel is uncertain. 

To the right, Elijah is repeated : beneath this a Jewish 
king. All the otiier panels are repetitions, with the 
exception of one, which represents a lion kiUing an 
animal, apparently hoofed, and probably an ox or a bull, 
having possibly an allegorical meaning. 

Throughout these subjects, we remark that there is Sui^eds 
not one from the New Testament, the sacred scenes of ^^ Tesia- 
which were more generally reserved for the embellish- "®°* fi^®* 
ments of the interior of the church. senredfor 

Large bronze doors of this description, were much in ***** intortors. 
vogue during the Romanesque period. The principal ^^^^^„^ 
seats of their maoufacture appear to have been in southern their pImm 
Germany, Italy, and at Ckmstantmople. The one just taze,&e. 
noticed is the work of a goldsmith at Augsburg ; the 
doors of the cathedral at Novogorod, Kussia, of the 
twelfth century, are slso 1iy German artists. Russia po- 
sesses other interesting examples, at Susdal, and Moscow, 
the work of Greek artists in the tenth century ; and at 
Alexandrowa Slaboda, cast at Novogorod in the fourteenth 
century. 

Italy is peculiarly rich in monuments of this kind, the Italy pecn- 
works of Greek and Pisan artists. The great originals ^gioMhe 
were those of St. Paul '* without the walls," at Rome, kinc^ 
cast by Stauracius, a Greek founder at Constantinople, 
in the year 1070, in imitation, as it is said, of the 
entrance doors of SK Sophia in that city. Those of 
Venice, Yerona^ Pisa, Monreale, Ravello, and a crowd 
of small towns in the south, would form an interest- 
ing volume. In Grermany, the old doors commanded by 
Charlemagne, at Aix-la-Chapelle, were the first known ;^ 



1% THB BYZANTIKB COITET. 

thoee of Petenhauwn, and of Buhop WilligiB, a,i iSajeaoe, 

ot Hildeedteiin, Angsbnig, Mtd Gnewin, fallow in tmcces- 

mon. CordoTA, in Spain, poMecsei some isiaed under 

the Mooriah role ; but France and England, nufortu- 

natel^, have no specimen of this early period to show. 

OJhraiM I3ke differenoe between the Greek work, and that of 

watt of European artiats, consifta, not only in the more perfect 

Eurmu' •'M'l'ior of execution, and the introdudion of Greek 

uUbu. lettera in the insoripttons, but in the occasional nse also 

of delica-tely inlaid threads of filagree gold or silT«r,' known 

as damascene work. 

Tha eaatni The central atcade is formed by a compartment of the 

th^doMn oloisten of St. John I^teian, at Bome, execoted in the 

Ut™?° ^"^ ^"^ °^ **" Uiirteenth centniy, and affording a fine 

example of the later Romanesque style, in which a 

BenaiBsaace character was being speedily developed, to 

be thrown back, however, through the introduction of 

Gothic andiitecture in Italy, for two centuries. 

Considering the period at which it was built, the 



Ci^Ml« ftom tlM CloliMn of St. John Literal), KMoe. 

iihlbiii Uh purity of its detail is indeed remarkable. The plinth ia 
ihe^^Hi regularly designed on an antique model ; the bases of the 
columns are Attic, and the shafts, well proportioned aud 
diminished, support beautifully formed capitals, which 
aie evident imitations of the composite order, capped 
by an abacus ornamented with Roman detail A well 
proportioned archivolt marks the curves of the arches. 



INTBRIGR OF THE COURT. 7« 

the whole being sanxLOUJited by a masBive, .but complex 
entablature, with its architraye, frieze; and corqioe. 

Particular attention ahould be directed to the mosaic its mosaic 
work of this arcade, which has been very caxefully executed ^'^^ * 
in real porphyry, serpentine, and glass mosaic,^ by the 
best worlmien i^ EomT; so as. to' give a correct idea 
of the brilliant effect of the ancient '^ Opus Grecanicum." 

The suljects between the arches are of a Lombard ^ "3^ 
Komanesque character, and symbolise man assailed by the ton. 
evil passions, in the shape of two monsters ; th^ gentleness 
of the Christian nature, represented by two doves drinking 
out of one vase ; and the subjection of the evil passions, 
typified by two monstess, bound together by the neck. 

The upper cyma moulding of the cornice is boldly jy^ig^bnaitM 
marked, and decorated with antique ornament, showing conioe, Ac 
a Byzantine influence, divided at intervals by projecting 
heads, among which, those of the lions are complet^y in 
the antique style. 

The twisted columns are supported on the inner side 
(gallery) by lions, which are in keeping, as regards their 
excellence, with the rest of the sculpture. 

The Church of St. John Lateran is one of the earliest a notice ot 
basilicas of Home, and was for a long period *' omnium 2??^?"*****' 
urbis et orbis ecdesiarum mater et caput,"* and in a Lateno, 
great measure still retains a local precedence. Of the old 
church Uttle remains, the body of the building, and its 
fine fa9ade, being a work of the seventeenth century. 
The cloisters are large, and formed by a series of com- . . 
partments of which the east centre is here reproduced. 
At the period of their erection, the artist family of the 
Cosmati flourished in Borne, and it is possible were 
employed in the decoration of ihese cloisters. 

The bronze doors to the right, are from the Cathedral The bronze 
of Hildesheim, northern Germany, and were made by ii5di5e£i 
order of Bemwardus, bishop of that city, in the year 
1015. Although earlier in date than those of Augsburg, 
they are of very superior execution. The upper portions 
of the figm^s are completely relieved from the surface. 
The lions' heads which hold the handles are very hobly 

* Tranfilation : ** Mother and head of all Chuil-cheB, whether of 
Hie city or the world." 



n THB BTZANTINB COURT. 

conoeiyed ; and the intention of the compositions is well 
Inscription expressed. Between the centre panels is the following 
^^1^^^,. inscription : " Anno Dominas incamationis mxt (a.d. 
1015) Bemwardus, divae memorisB has yalras fudUs in 
fadem angelici templi ob monimentum sui fecit siis-> 
pendi." * Bemwardns, who thus caused the gates to be 
raised in his memory, traveUed much in Italy, and was 
a great encourager of the arts. The inscription itself 
appears to have been engraved after his death^ judging 
by the character of its leiters. 
deseription Eight panels on one side, illustrate passages from the 
of oSeff^^ Old Testament, and eight on the other, passages from the 
New Testament. The first on the top at the left is the 
creation of man. 

2. The presentation of Eve to Adam. 

3. Adam and Eve eating the forbidden frtdt : on the 
tree to the left, the Devil is represented in the form of a 
dragon. 

4. Gk>d calls them ; they hide their newly-discovered 
nakedness, and from between the feet of Eve crawls the 
wily serpent. 

5. Adam and Eve driven out of Paradise by an ang^ 
winged and holding a sword. 

6. Adam tills the ground with a sort of hoe : on his 
ri^t. Eve beneath an awning spread from two trees, 
nurses a newly-bom child ; between them appears an 
angel of comfort, holding out the cross, as a sign of the 
manner in which their race should yet be saved. 

7. The offering of Cain and Abel. The open hand 
of €k>d, extended from a radiated glory, accepts the 
proffered lamb of AbeL 

Early exam- ®' ^® death of Abel, who is struck to the earth 

pieofthe by his brother's club. The dramatic style of illustration, 

styto of r»- BO usual with the Renaissance artists, is seen at this 

presentation, early date, and Cain is shown in two attitudes, the first 

on the right, as about to strike, and again after the fatal 

|)low has been given. The divine hand stretched forward 

from a cloud, has the two first fingers raised ; an act 

which usually signifies benediction, but in this case no 

* Translation: ''In the year of the Lord's incarnation 1015, 
Bemwardus, of holy memory, caused these cast doors to be raised 
in front of his holy temple as a monument (memorial).'* 



ULTERIOR OP THE COTOT. 75 

doubt only a conventional method of representing the 
presence of the Deity. 

On the right valve, in ascending order, are a sems DescripUon 
of subjects, of very frequent occurrence throughout the jJ,^5fSmeis. 
middle ages, and known as ^^the joys and griefs of the 
Blessed Virgin," commencing with — 

1. The Annimciation. Mary holds a pahn, or olive 
branch in one hand. The cross in the angel's hand, is 
typical either of the ** mater dolorosa," or of the manner 
of Christ's death. 

2. The Birth of Christ. The heads of an ox and 
of an ass, appear at each side of tiie crib. Mary lies on 
a couch, her head encircled with a nimbus^ and appears 
to converse with Joseph, who is twice represented (as in 
the case of Cain) ; his head rests thoughtfully upon his 
hand. 

3. The OfEerings of the Three Kings. 

In all these mibjectoy the Holy Family is shown as 
dwelling in a sumptuous house, and here Mary sits on a 
sort of throne,- above which gleams the guiding star. 

4. The Presentation of Christ at the Temple. Mary 
hands the Infant to Simeon the priest : all three have the 
nimbus ; but not so Joseph, who holds in his hands an 
offering to the Temple. 

A stride here is made in the history, and the 5th 
panel illustrates Christ brought to the judgment-seat, by 
two Roman soldiers. The crowned and sceptred judge is 
probably Herod, in whose ear the spirit of evil is seen to 
whisper. 

6. Christ nailed to an unusually broad budding cross, 
or cross of glory. A Boman soldier pierces his side, 
and another offers him the saturated sponge. At each 
angle are seen St. John, and Mary, respectively, holding 
the Scriptures. 

7. The Marys visit the grave, and find the angel, who 
annotmces the Saviour's resurrection. 

The 8th and last subject shows Christ triumphant, 
holding in one hand the Cross of Victory — ^the " Touto 
Nika" of Constantine, and with the other pointing at a 
human figure (Sin), which lies in submission at his feet. 
The tower probably typifies the Church, and the birds 
the faithful. 



THE BYZANTINE OOUBT. 

inT Tlie boldly worked monldingB And capitals, iriiich 
" " omunent the doorway itself, affoid a good ide« of the 
Glermau Bomaiiosque etjle in the twelffii centoiy, 
strongly maiked by a Bysantine inflaence. We have 
already bad occasion to remarli: the great Tariety 
observable in Bomaneaqne capitals : thoaej fonaded cm 
a Bonuui type are well exemplified in the present capitals. 



A Cupltal rnnn tbt CodvcdI sf Hnirbaid, a<nuD7. 

whilst the adjoining woodcut servae to illusbute those 
which were founded, as to form, on a Bysaittiue type. The 
angles of the plora are oruameated with a wide splay, 
finishing at the top with heads, and beneath with foliage. 
Sharp uigles thus treated are pecnliar to the Romanesque 
>ftyle, and exist in great variety. The angle corbels 
of the lintel, represent symbolical figures of women, 
one OTOwned, and the other having a nimbus, seated 
respectively on a lion and a goat. 

These, and the subjects in the head of the arch, are 
from Venice ; two angels hold chalices at each side of a 
cross, which, though of the Latin form, is of Byzantine 
chancter. The foliage and birds are characteristic 
speoimenB of Venetian eculpture. 
n The ansade above the cloister of St, John lAteran, is 



INTERIOR OF THE COURT. 77 

from Gelnliaiisen, in southern Germany, and although OeiniiAuwii 
probably of as late a date as the commencement of the eiouterof 
thirteenth century, is completely in .the spirit of the early St. Joim 
Liombard sculpture, carried out in all its wild grotesque- j^Lom-* 
ness, showing strange animals, pursuing and biting each ^^^ "^^ip- 
other, intertwined with foliage. 

The centre is formed by two winged monsters, with 
animals' heads and the tails of serpents, resting each a 
daw on a bearded human head. 

In the four spandrels, two subjects are twice repeated* 
A pelican with wide-spread wings, guards her nest from 
a winged grif&n on each side of her ; symbolic of the 
Church of Christ, or the Saviour himself defending its 
children from the spirit of eviL Beneath this, the 
sculptor has engraved the word "Pelicanus." The 
<< pelican in her piety'' feeding her young, as "tradition ThePdican 
used to state, &om the blood of her own breast, rendered cMsdim^ 
that bird a favourite and generally imderstood symbol of lymboi. 
Christ's sacrifice for his children. 

The other subject consists of a man (beardless), who 
drags one of his feet from a lion's jaws, and seeks to 
draw his sword to defend himself. In this case we have 
the Uon seeking whom he may devour, and the Christian 
warrior about te resist him. 

At the right angle is an eagle, a^^parently with an 
animal in its claws, one of its wings being bitten by a 
small-winged monster. 

The opposite angle is supported by a human figure, onuuntnt of 
The foliage of some of the capitals is gracefully arranged ; ^^ capitals, 
and in the last but' one te the right, two women, with the 
bodies and legs of birds, but with serpents' tails, tear each 
other by the hair. In the Bestiaries, or natural histories 
of the middle ages, it is thus that Sirens are represented. 

Beyond the Hildesheim gates, is one of the side TheShobden 
doorways, from the now destroyed church of Shobden, in ****"' 
Herefordshire. 

Shobden church was pulled down in the last century, how pre- 
but the three principal arches were preserved by Lord ^^^ ♦ 
Bateman, and are now in his park at Shobden Court; All 
these doorways, as well as the Kilpeck one, have been 
admirably cast and restored by Mr. W. Jennings of 
Hereford. 



73 THB BYZAHTUnC OOURT. 

dftttfAc^ef Tbe origiiul draidi was Iniilfe alKnrt the year 1141, l^ 

^eojigu-i OUyerdaMerliiiiaiid,stewaidafHiighdeMartii«ier,t^ 

Earl of Mardi, in a atyle vety sbnilar to thai of Kilpecfrj 

alao on the Welch bardeiSy and coeval -with it. 

peenitar vm In the doonraj the nae of the zigzag omamenty as a 

^jjSSSSft Bupporl on each fddey is veiy lemaikable. Oar attention 

is next drawn to the ang^ caintalay and aide colmnns on 

the left hand, where we remaik figoies which bear a dose 

resembiaaea resemblanoe in genend character to thoae on the Kilpeck 

2^^^ dcxnr. On the capital they are repreaented with their 

thoM at fiu)ea resting on their hands, as in the Chicheater rriief 

KUpeck; above : this attttude appears to have been a conventicnuil 

method of expressing grief, or thonghtfidness. 

M^l^^jJ^ '^^ foliage of the colnnin is distinguished by the 

other om*- lacertine character of the Celtic school, whilst the trees 

'°^°^> on the capikak, wonld seem to rexnesent paLn-trees. A 

complex i^stem of interlacing marks all the ornament, 

which, in the case of the bands stndded with nail-heads, 

partakes more of the Norman style. The enormous 

twisted serpentine monsters, and the inner moulding of the 

arch, are thoroughly Celtic or Scandinavian ; the former 

being a fitvourite subject in all northern ornament, and 

being applied whenever the Scandinavian mythology found 

favour.* 

The centre moulding of the arch is remarkable for the 

ingenious arrangement of the griflSn-like monsters alter- 

P««jW«rlttei nately placed contrariwise. The bases of the columns 

ofooiimiiui. resemble rather those of the early Irish churches, than 

the more regularly moulded examples of the Norman 

style. 

We cannot pretend to give an explanation of the 

meaning of the sculptured figures. Mr. Lewis, whose 

work on Kilpeck Church we have before quoted, has 

written a treatise, ascribing a most minute symbolic 

ShofSen ^ meaning to these doors — a meaning at once interesting 

WrtBh* *^ *°^ poetical From both these churches being on the 

bordan. Welch borders, and at one time included in the reahn 

* In his masterly <* Harold," Sir Edward Bulwer I^ytton has 
admirably described the interweaving of the Norse myths and 
Christian £uth ; a blending which the antiquary cannot fail to 
recognifle in many of these early ''sermons ia stones," which it is 
his proyince to inyestigate. 



INTBBIOB OP THE COUET. 79 

of Wales, lyuig) <^ ^®y ^o, to the west of O&'b Dyke, 
whidi marked the Welch teiritoiies, Mr. Bokewode has 
supposed them to represent Welsh knights. Their oostumBi Angio- 
as we have before observed, merely indicates their being ^^° 
Anglo-Saxons or Danes ; and the expression of earnest 
grief depicted on their faces may typify their feelings, 
under the Norman thraldom ; however that may be, the 
doorways, both of Kilpeck and Shobden, are amongst the A atju of 
most interesting monuments in England ; affording, as i^E^jSm? 
they do, abundant proof that a style of architecture, contempon- 
differing in many essential points from that of the Norman Normui, and 
Bomanesque, existed contemporaneously with it in the ^^^^^'^^ ^ 
more remote parts of England. 

The corbel table, above this door, is firom Bomsey Bomsey 
Abbey, and corresponds to the one already noticed. tabie.^^ 

Above this, again, is the other Chichester bas-relief. Chichester 
The ends of the drapery faU in folds, stiU more antique *>*»-»"«f- 
m character than in the corresponding panel ; and the 
heads also bear the same impress. 

Ohnst, with a cruciform nimbus above his head, is Description 
followed by his apostles ; whilst %ures issue from a porch sabjeet. 
in the Romanesque style, and kneel at the Saviour's feet. 
The subject appears to be Christ's Arrival at the house of 
Lazarus. In the dresses of these figures a Byzantine dumter^ia 
character is strongly marked. The arrangement of the co«tan»«« 
hair, with long and separate ringlets, at times tied in 
knots, is exceedingly curious. We have already had 
occasion to remark that the Kormans shaved their heads Hovfhehair 
and faces at a time when the Anglo-Danes and Saxons the Anglo- 
took a pride in their flowing looks ; but shortly after ^JJ^' "^ 
their arrival in England long hair was common to each qnentiy hy 
people. WiULani of Malmsbury, writing in the reign of mans.^'' 
Bufus, reproves the extravagance of its length ; and a 
monk called Serlo, preached so eloquently against long 
hair before Henry I., in Normandy (a.d. 1104), that he 
moved the court to tears ; and taking advantage of 
the happy moment, '* whipped A pair of scissors out of his 
sleeve, and cropped the whole congregation.'' (Planch^, 
Hist. Brit. Cost.) An obstinate young reprobate, who 
would retain his hair, dreamed one night that he was 
strangled with his own ringlets, and on awaking in a 
fii^t out them off ; thus affording a salutary example, 



so THE BTZANTIBS OODKT. 

which WM widely followed. Bat alM, fcr human natore ! 

Oideticiu Vitalis, in th« reign of Hearf L, ia found 

deoormdng tiie length of men's beardi, comparing theon 

to filthy goats. It remained for a later period to Ivlng 

the nnholy faahion into nniTertuJ disuse. 

AuibBTdotr 'Bte next door, on the retnm bde is also frran 

Siu^^£tU Shobden, the interior being fbimed by the remaining side 

br tha ui-< door, and the exterior by the chancel or trinm^uJ arch 

tnmfLti ot the same chnrch. 

ctaanh. ][„ ^,q gmaller of the two, the agEag ntooldii^ takes 

its normal position, the st&r ornament being ingeniously 
SJJ;^^ csiriod on to the inner roll. The general features are 
the same as in the one we have j uat described, the intemV. 
colomn presenting an extraordinary inataace of complex 
interlacing. The interlaced work, so common on the 
Bomaaesque buildings, received its peculiar dmracter 
doubtlew from the early examples of the style executed 
in Lombardy from the ei^th century onwards, of which 
we adjoin a characteristic illustration of the ninth m' tenth 
century, from Milan. The head of the arch is filled in 



iDtetUMd Work ham St. Amlin^o, UiUn.: 

with a drcular, or what was meant for a circular anreole, 
within which is a very rough figure of Christ seated, 
beardless, long-haired, with a amall plain nimbus enoiT- 
cling his head ; four angels of vast muscular capabilities 
support the upper and under ring of tiie aureole. 

Very similar reprBHmtations of the Saviour occur over 



IirrBEIOE OF THE COUBT. fl] 

numy Notmm Chuioh dow^, aa at Soobeeter, Mftlmsbury, sptnt at 
BufrBBton, &c. Sometimea Christ within an aureole, is J[^'"*'*'' 
lepreBsnted. surrounded by emblenu of the four Eran- 
gelists, a curious example of which cvtttxa, inscribed 
within a cross, fiom a French Bomanesque Church, U 
fibowD in the accompauTing woodcut. They allude to 
the teit, "1 am the way, and the truth, and the life" ^'Ju''" '" 
(.lohn liv. 6), " I am the door, by me if any man enter SmuiiKW o 
in, he shall be saved" (Jobs x, 9). The door itaojf waa li^^^'om 
never of lai^ dimensions, in conformity with the well- *"'■ 
known declaration of "Strait ia the gate, and luurow 
is the way which leadeth unto life" (Matt vu, 14). 



As regards the representatiott of the Saviour In an Tba SaTionr 
aureole placed over the door, wo may observe that such Jj^'^"'" 
a-c«Htom was universal during the Bomanesque period, duriiiBii'* 
and was adopted by all countries as a conventional type. p^SIl'™ 
In tbe earlier ages Christ was shown beardless, as Form mil 
the Good Shepherd. The aureole (vesica piaois) or glory. t!j|^^ "* 
which surrounds him, was either of an eUiptical or circular 
form, and was adopted by the early Christians irom the 
rays of light or glory, with which not only the Greeks and 



82 THB BYZA5T1HB GOiniT* 

BoBUUBs honoured iheir godSy but vbldb k fovad among 
all the Oriental nations, and which, up to a Teiy Ute 
period (the serenteenth oentuiy), was asBorted by some 
writeza to be freqnentij Tisible roond human beings, 
endowed with exoessiTe anhnal heat, as may be gathered 
iSa^onto^ from ito Latm name. Some antiquaries have connected 
the word this fonn with that of a fish, from the fact that it was 
^^^C probably tued by the earty Christuiis to expram the 
Greek word IXBYZ, which means a fish, and the lettos 
of whioh are the initial ones of tiie phrase, 'liffntvs Upwrot 
8cov Ylos ^atTffp (Jesus Cbrist the IB<« <^ God the 
Saviour.) 
for whom In the Christian Church, the aureole was reserved for 

tibTchaivh ; ^^ three persons of the Trinity and the Yirgin. Some- 
times, however, the soul of a martyr or saint is repre- 
ezceptionai ^^^'^^ "1 an aureole, as at the church of Booqueville, 
cMeB. in Normandy, and at Moi8Bae» as we shall presently 

see. In later times we find not un&equently a quadri- 
lobed aureole. 
The nimbtu The nimbus <v code over the head was also borrowed 
and ajnpiiea- ^7 ^^ ^^^7 Christians from the disk or didb placed over 
tiouf the heads of the heathen gocb ; its use, however, became 

much extended by theaa. The three peraaiis of the 
Trinity, the Yirgin, and all the divine emblems, such as 
the sheep, the dove, and the hand issuing out of a cloud, 
are distinguished by the otneilonn nimbus or circle in- 
scribed with a cross, which we have had occasion so 
frequently to remark. The plain nombus was given indis- 
criminately to all the sain^ and heroes of the Old and 
New Testaments, modern saints, and royal personages. 
The square nimbus seems to have been applied when the 
saint represented was still living. The absence of the 
nimbus does not always imply a want of di^^ty or 
sanctity. The Christ at St. Trophime, Aries, has no 
nimbus, and the Saviour, over the Shobden door, has a 
nimbus without the cross. M. Didron, the well-known 
adetafled French antiquary, has written a learned work on the 
bi«toryofit subject of Christian loonography, full of interesting 
leonogn^hji information upon such points, a translation of which has 
been published by Mr. Bolm« 

The chancel arch of Shobden is an example of what ifl 
also called the "Triumphal Arohj'* 



IHTEBIOE OP THE COPBT. 83 

In the early Chnrch, the space Bnrronnding tho high 9'^^^^ 
altar was separated fitan the nave only by a, " cancellum," or « tri- 



hi 
ijj I 

M 

If 



ii 

ll 



III 



84 



THB BTZANTIKB 00T7BT. 



Trlnmpliftl 



oonMnon In 
th« NormMi 
Oliurohei* 



OraMntnt 

ttom 

MoiMM. 



EfAgTOf 
Blinop 
Romrflrom 
Buliburjr. 



Eariy stone 
coflins. 



or enolosore, — ^the origin of the " screen" of the middle 
ages, but as the service at the altar became of a more 
imposing character, and the relics of the saints a subject 
of greater veneration, particular honour was paid to that 
part of the building, near the altar, where their remains 
were laid, and the altar service was performed. In 
consequence, an arch, called ''The Arch of Triumph," 
was thrown across the nave, so as distinctly to divide it 
from the part of the church in which the holy rites were 
gone through. This change occurred about the eighth 
century, and formed the nucleus in the Latin Church of 
a transept, a chancel, and a tower or lantern. 

Triumphal arches do not appear to have been generally 
known in England till a later period than that just 
mentioned. In the JN'orman churches they form a re- 
markable feature, the west side especially being deeply 
recessed and highly ornamented, as seen at Tickencote, 
Rutlandshire, Barfreston, Kent, and in numerous other 
churches of the same class. 

The nine circles over this door are from the Abbey of 
Moissao, in Languedoc, and exhibit a well arranged and 
characteristic example of foliage in the Byzantine style. 

The monumental effigy beyond the Shobden door is 
that of Bishop Boger, from Salisbuiy OathedraL 

This celebrated bii^op of Old Sarum died in the reign 
of Stephen, a.d. 1139. His monument is carved out 
of Purbeck marble. The effigy itself is in very low 
relief, the head only being brought into higher relief by 
means of the stone work being more deeply cut away from 
around it. The bishop is represented in full pontificals, 
much defaced, however, by time. The head rests beneath 
a trefoil-pointed niche, and at his feet a dragon, sym- 
bolical of Satan, gnaws and clutches himself in a. furious 
rage. The foliage ornament roimd the figure is rather 
rough, but shows traces of the early Gothic period. 
The monument, indeed, may be considered as transi- 
tional in style, between the Norman and early Pointed, 
and is one of the most ancient in England. The head, 
though not modem, is probably of a later period than 
the rest of the monument. 

The earliest monumental tombs in this country had 
no effigy of the deceased, being generally stone coffins 



INTERIOR OF THE COURT. 85 

with a coped top (en dos d'^e), the faces of the coping 
being often ornamented with foliage, crosses, &c., very 
interesting early examples of which, in lead, were dis- Le^d-ooffliM 
covered by Mr. Bichardson in the Temple Church, ^^ 
Londop, and have been published by him. Hie earliest, church. 
or one of the earliest, instances of an effigy is to be 
seen on the tomb of a Norman abbot, in the cloisters at 
Westminster, the figure lying in a sort of recess, so that 
its highest parts are level with the surrounding border.* 
Perhaps next to that in point of antiquity may be ranked 
the present effigy, in which we remark more boldness in 
the relief. The effigy of Bishop Joceline, in the same 
cathedral, is quite detached from the surface (drca 1189), stoue effi- 
after which period complete effigies became common. We fftj^*^""*®" 
may remark here that the deceased is represented in most 1189. 
cases as he was buried. The ancient Romans burnt their 
dead, the modem Europeans placed them in ftdl costume 
in their graves. The abbots of Evesham and the bishops EoeieaiMtica 
of Hereford are proved to have been buried not only in J^iadlxi* 
full pontificals, but with their pastoral stafis, rings, &c, offleiai 
The abbots of St. Germain des Pr^s, at Paris, buried in •~*"°'^» 
the tenth and eleventh centuries, when exhumed, were 
found in their ecclesiastical costume, and the bodies of 
Edward the t)onfe8sor. King John, and Edward I., were 
found fully habited in their royal robes. Only armour 
seems to have escaped, its great value no doubt being annoor, 
the reason why we are not in possession of an invaluable l»^«^«^»o* 
subterranean armoury, such as not even the industry of 
a Meyiick could collect. 

The next doorway is that called the prior's entrance, The prior's 
at Ely Cathedral, of which no authentic information is to q^SSS^'i^^ 
be found ; but which, from the style of its architecture, 
appears to belong to the latter half of the twelfth century, 
at which period, between the years 1174 and 1189, under 
Bishop Bidal, much activity was shown in the prosecution 
of the building, or more probably it was built under the 
bishopric of NigUlus, his predecessor, who died in 1164, probable 
during whose prelacy the cloisters, to which this doorway 
formed one of the main entrances, were built. 

* Much the same method of sunk relief may be obeenred on the 
Bgyptum columns, &e. 



66 TfiB BYZANTINB COUET. 

its general It is » remarkably omamoiiital example of the florid 

" ^ ^' Nonxum style, as modified by drciunstaoces in Tgn j^M.T»d . 

13ie mooldings are simple, and the workmanship of a 

rough but spirited character. The external face of the 

left-hand pier is dec(»ated with a number of oonsecotiTB 

cindes, filled in wiih sculpture. In the sixth from, iiie 

ground, we remark a mermaid playing oa a haip, and 

among tiie others, a wild boar, a bull, a species of ibex, 

ccmduding at the top with a man drinking out o£ a bom, 

copied surmounted by a castellated building. The " Bestiaries," 

*^^^e8." ^ illuminated natural histories of the eariy ages, seem 

to have furnished the greater number of the subjects. 

Above, on each side, projects a lion's head, and the 
bases of the columns probaUy rested on Hona' backs. 
The columns iliemselyes are IxMly cohered with ranniag 
foliage, interspersed with fabulcius animals. 
Reaembianoe The capitals are of a cushion form, and, like those of 
tottMMftt ^^ Kilpeck and ^obden doors, have a takle neddng; 
Sbobden and the omaments of the arch, especially the flat outer 
^^^ surface with leaves cut in low relief, are of a completely 
^j ^^ Bysantine dliaracter. In the hesd ci the ardi is repvfr- 
Christ in the sented Christ within an elliptical aureole, his head eneircled 
ardb.^^^^^ with a cruGJ&nn nimbus, one hand raised in benedjetjon, 
the other holding a Bible surmounted by a cross. On 
each side of him are 8upp<Mrting angels, the whole of 
rough workmanship, founded on a Byantme type. 
C^^MiMda The richly carved lintd is si^)ported by two bvackeU 
with heads. That On the ri^t represents a man's, 
bearded, and his hair confined by a band over the ' fore- 
head, with braided ends depending over his bade Tbskt 
on the left, a woman with her hair arranged in rows of 
onrii, the ears being left exposed. Hie style of faee 
resemUes those seen on the Shobden doors. 

On the right-hand pier, commtfwicing at ^ top^ we 

notioe human figures as predominant, and can Hiaii^gwtMh 

some of the subjects ; such as an animal clasping a man 

Many by the nedc (seecmd cirde ftom the top) ; a player on tiie 

raMectsfrom ^^^9 ^ player on the pipe, and in the fifth drde from 

natnie. the ground a player aa a viol, lower still a posture 

maker, and close to the gromid two men in a boat.* We 

* In Carter's Ancient Sculpture it is described mm a man' sad 



IKTBaiOB OF THE COURT. 87 

do not think a symbdic meaning is attaclied to any of 
thaee subjects of the side piers, as it is now generally 
allowed that the '^ Bestiaries," of which MH. Oahior 
aad Martin give interesting examples in the ^' M^laoges 
Arduaologiqiies," i^e Ysopets or Fabhaux, tiie iUn- 
minated calendars, and sudi <^ Folkslore," as was tiiea ^^°"£^ 
known, were rejwodnced and illustrated by the sculptor, tiaries «ad 
Thus a basilisk is represented, and the better to expreas ^*^^^'" 
his meaning, the workman carves '^ Bas licus*' over it. Examples at 
In the cloister of St. Aubin, at Angers, is a mermaid Angen, 
with a fish in one hand, and a knife or mirror in the 
other. Over the door of St. Ursin at Bourges, are Bourgeg, 
various fables sculptmed, such as the fox and the crane, 
ifec. At Stratfaid-<m-ATon is carved the receipt toi^;^'^'^' 
catching a unicorn, which waa to place a virgin in his 
way, and althou^ the fiercest of brutes, he would then 
come and quietly lay hw faettl on her lap, ^' when you 
might slay him." These instances are but a few out of 
numbers. The calendars were a subject of very frequent 
inspiration, and the great painted window of JN'otre ^ at Notre 
Dame at Paris, is bordered with such common-place ' 
emblems ef the months, as Felmiary, wanning his feet 
at a fire ; June mowing ; and October brewing his beer. 
The ^^Bomans des gestes,'' were also £KV0urite subjects. The Romans 
and the capitals of many a church illustrate popular ^^ gestes. 
romances ; the Lay of Aristotle, being of firequent 
occurrence. Symbolism there was, no doubt ; but over Symbolism, 
and above that, we can fancy these working artists at the' 
social fire, listening with pleasure to the strange stories 
and traditions of an age superstitious and timid in its 
ignorance, or see their eyes brighten over some new 
artistic treasiure obtained by the neighbouring monastery, ofbnS^^ 
and then next day see them working away to give a 
fi>rm to what occupied their minds ; and although illus- 
trated books were not quite so common as they are now, ^ ^ . 
we are convinced that in a good collection of medi«9val Bctapture 
sculpture, we should have ihe very best possible illus- ©? M?period 
trations not only of the literature and the traditions, but 
also of the every-day labours and amusements of the 

a woman in one boat pnlHng contrary ways ; a satire on matri- 
mony. 



THE BTIAKTINE COUET. 

middle ages. No one who has taken the trouble to 
exunine the miserereii and corbel tables of onr cathedrals, - 
and the sabjecte of nieh capdtals as the vine stealing, or 
■nonkef and cobbler ones at Wells, can doubt the pleasure 
the art-workmen of the early and middle ages toc^ in 
leprodndng sulijects fireqnently of coarse hnmonr. 

Over the door are placed examples of ornamental 
sculpture from St. Mark's, Venice, of wMch the adjoining 
woodcut forms a chAracteristio illustration. 



Onument from St. Hiik'e, Venlc*. 

Th* buUm On the li^t aide of the EI7 door, is a renuibble 

UriimVi^. !««» of sculpture from the baptiirtory of 8t Mark at 

Venice. It repieaents John the B^itist, baptising Christ. 

The Holy Spirit in tiie form of a doTe is seen overhead, 

with the inscription in Latm, of " This is mj beloved 

son, hear ye him." St John has a scroll on which the 

'onljr legible words are " Ego vox clamantis." * The 

figures are enclosed witiiin a tiilobed pointed aich, with 

an oHiiakiiental leaf border ; in the spandrels of the arch 

rixive are seen, Mary on the right, with a spindle in her 

EiallaDt haikd ; and on the left the annoimcing angoL The bas- 

jJJl^^" relie& of the saints, whidi form a border to the wm.- 

uinu. position, are works of much merit. ZadiWriaw, with a 

long beard, and - a scroll in his hand, is remarkable for 

the fine mauagament of the ilrapery, and his noble head. 

St. Paul carries a sword and a book. St. NioboUi is 

represented with a mitie and croaier (St. Nioholas of 

Myra in Syria, the patron saint of children). St. Mark 

with the tonsure, and a book. St. Peter, with the keys, 

* I am the TOice of aoe oUling. 



INTBRIOR OP THE COURT, 89 

and Daoiel, beardleBs, cKrryiiig a scitdL They ore 
incloBed by the prismatio moulding eo charticteristic of 
Venetian work. Judging ftoin the foliage, the twisted 
side-oolumua, trilobed aich, and general execution, we ^^ 
should ascribe this work to the thirteenth century, and d*ta or 
to a sculptor already discarding the tiammelB of Byzantine """fM"- 
tradition. 

AboTe this is a piece of ornament also from St. Mark's. Symbolic 
It consists of two peacocks, emblems of the redurrection ^m 
or of immortality, with their wide-spread tails ingeniously *•• Mark'i, 
bound within a circle, the emblem of infinity, l^e rii^ 
piece of conventional foliage which encircles it is distin- 
guished by the trefoil leaves on one stem, symbolic of 
the Trinity ; the whole design is confined within an 
interiaoed border, marked by the small deeply-drilled 
holes eommonly found in Byzantine foliage. 

Another piece of Yenetian sculpture is placed above 
the tomb of Bishop Boger, consisting of two griffins, as 
they were usually represented in the " Beetiaries," each 
with A foot resting on a central vase, from which springs 
an ornamentally curved tree ; the entire design being of 
an oriental character. 

The capitals ranged above this portion are &om the CuplUI' 
cloisters of the Abbey of Moissac, in the south of(Fnnce)- 
France (Languedoc). They are fine examples of the 



A C*p tmn U» ClidiMc of MoEaMO Abbey, FnnM. 

Bomanesqne style of ornament, as practised in the 
southern provinces. The accompanying woodcut servec 



THK BYKANTIKS COURT. 



One Mnteln- 

ingthe 

hiiitorjof 

Fmetaosns, 

Bishop of 

Tarraeoiuu 



Uiaboryot 
the Aobe7 
of Moissac. 



The 
cloisters. 



Date. 



to illfuirate the peculiar bncket-like form so fteqtientlj 
fotmd, not only at MoiaaaCy but in Romanesque caps <^ 
the south of France generally. The histOEiated capital, 
or one'Bcuiptured with figures, repreaents the historj of 
St. Fructuosus^ Bishop of Tarragona in northern Spain, 
who, with his two deacona, Anguriua and Eulogius, 
suffered martyrdom during the persecution of Yaleziaa 
and Ghillienua, in the year 259. On one side the three 
are shown in full canonicals, with their names engraved 
over them. On the next, the govemor of the province, 
whose name. Prince Milianns, or ?Smi1iaaus, is written 
above him, is seen seated, with his harper or bard standing 
behind his throne ; he senda out Boldiera to capture 
Fructuosus. 

On the third side, they are shown in the flames of a 
burning fire, with the inscription over them of '^ Martires 
in flammis." And on the fourth, their souls incLoaed ill 
an elliptical glory or aureole, are borne by angels to 
heaven. Above them extends the hand of GU)d in the 
act of benediction, with Alpha and Omega engraved on 
each side of it. St. Fructuoans was a saint etpecially 
honoured in Spain and A&ica. 

The Abbey of Moissac was originally founded by 
St. Amand, Inshop of Maestrieht in FlandeiH. In 845 
Pepin n. confirmed the privil^;es of the monastery by 
a charter, in which St. Amand is mentioned as the 
foimder. In the tenth century tbe oounte of Toulouse, 
connected by maniage Fitlt the 'counts of Barcelona, 
richly endowed it, but afterwaida sold their sovereignty 
over it, retaining however the title of *^ Abb^ Chevalier." 
The cloisters have pointed arches, supported alternately 
by double and sin^ oohmuis wifcli ahafts of Montricoux 
marble.* On one of them is the inscription, ^' Ansque- 
tiUus," and the date a.d. 11(K) ; but we believe the true 
date of this work to be later than that indicated. There 
are a great nimiber of interesting historical capitals, and 
the cloister is furnished with an inclosed fountain at 
oi^e angle,^a practice common m Spain, and found also 
at Monreale in Sicily. 

The very interesting Bomanesque monuments of the 
south of France and northern Spain, have never been 
well illustrated or described. . 



ULTERIOR OP THE COUET. M 

Tlie fountain in the centre of tlie Court k firom the FMsteto 
^bey of Heist^bach, in the neighbourhood of the uSS§S^ 
Diachenfel^ on the Bhine, 

It k( a fine example of Bomanesque art, of n chur 
lacter much more simple than is usual in that style. 
Thd detail is exceedingly pure, and akom, espedaUy in 
the bases of the columns, and flutings of the upper basin, 
a ^losa re««xLblance to the antique. The date of its 
construction is probably that of the abbey itself, or date of its 
between the years 1210 and 1233. The ancient abbey '^^*^^^^^' 
was sold for its matmals by the French, in the year 
1806, ahd the only i?eiBains of it are a fragment of the 
choir, a beautiful spedmen of its fonndr grandeur, which 
is carefully preserved by the present owner. 

On each side of it are placed the celebrated Fontevrault Arrange- 
efi^es, Queen Berengaria fkom the Cathedral of Mans, Fontevrault 
and King John from the Oathadral of Worcester. Her ^^®*^h 
tomb was discovered by Mr. 0. A. Btothard, in the year ftom Mans, 
1816, at the Abbey of TBipan, near Maos, at that time j^^^^ 
ruined and converted into a barn^ fimgnients of the tomb Worcester, 
were found lying about, and ih» statue itself discovered 
buried in a granary, Imt not at all injuied. 

The original situation of the effigy is unknown, as it 
was removed from ita fint site to I'Espan ▲. n. 1672. 

The hair of tbi^ queen is unoonfined, but partly con- Heroostome. 
cealed by a coverdyef, over which is an elegant crown ; 
her mantle is fSeuBtened by a nareow band across the 
bosom, a large fennail, or broodi set with precious 
stones, confines h^er tunic at the neck ; an aumoni^re, 
or purse for ahiu, is attached to ber girdle, and in her 
hand is a book^ on the cover of which she is herself 
represented lying on a bier^ with funeasl lights on each 
side of her. 

The first on the aide of the lazgo transept is that 
of Eichard Coeur da lion ; in the centre lies Beren- 
garia, and beside her Elconor of Guienne, wife of 
Henry XL 

The first statue on the opposite side of the fountain, 
facing Richard, is that of H-may II. In the centre 
Isabella d'AngoulSme, third wife of John King of 
Sng^d, known as Lackland {Sans Terre); and then 
his own effigy. 



sa THE BTZANTINB COURT. 

Chrowdoel- We will fint of all notice tlie four FouteVTMilt eta- 
F^iSi^ii/t *"™' ■ ''^8 earliest of tham is that of Heniy II. , who 
flmglsn. died in the year 1189. Richard I., (1199) ; EteoQOra, 

wife of Hemy II., (1204) ; and Isabella, wife of 

lackland, (1218). 
Thair u«i- '^^ great eioallence of these efflgiea, when we oonBider 
Ibheb cum- the period of their eiecution, will be better appre- 
prionrorki, oiated by a reference to the accompanying woodcut. 



BUtnei tnm ■ Rominuque obnnb Id Santh ot FrWM. 

which ia a faithful representation of the style of sculp- 
ture, ahortlf prior to their date, as seen also in 
niunerouB other instances, as at Cliartres Cathedral, •be, 
where a rigidity and titiSheBS prevaUs, Teiy difierent to 



INTBBIOB OF THB OOUBT. 98 

the comparatiYe freedom and nature of the Fontevrauli 
effigies. 

The character of the sculpture is simple, and the mnerai 
drapery exceedingly well arranged ; the head of each ***' ^ ^ ' 
statue rests on a cushion, the body itself lying extended 
on a mortuary cloth, or sort of funereal pall. . No lions 
or dogs arc to be seen, as is usually the case. Three of ifaeir mate- 
the statues are cut in stone, and have been much injured ; 
and the remaining one, that of Isabella d'AngoulSme, is of 
wood, and was found in a very perfect state. She is 
dressed in royal robes, the mantle ornamented with a 
crescent pattern, and her face enveloped with a wimple, 
or species of hood. It was executed by order of 
Henry III. 

The statue of King Henry II., is the earliest known Stataeof 
effigy of an English sovereign, and it tallies almost thenfriieftt 
completely with contemporary accounts of his costume, ^°*^T,",?'*" 
as seen when lying in state. king. 

Mr. Stothard, who discovered and illustrated these DeuiiBofhis 
effigies, describes the statue of Henry as having the right ^^* 
hand, on which was tho great ring, broken, but formerly 
sustaining a short sceptre, as indicated by marks on the 
breast. The beard was painted and pencilled like a 
miniature to represent its being closely shaven. The 
mantle was fastened by a fibula or brooch on the right 
shoulder, its original colour having been a deep reddish 
chocolate. The dalmatica, or long tunic, was crimson, 
starred with gold. The boots green, with gold spurs, 
fastened by red leather straps. The gloves had jewels on 
the centre of the back of the hand, a mark of royal or 
ecclesiastical dignity.. The crown, which Matthew Paris 
describes as of gold or gilt, was broken off, but the 
^drawing taken of it by Montfaucon, previous to the 
Revolution, shows that it had leaves like those on the 
crown of Eichard I. His sword was represented lying 
by his left side on the draped slab, the sheath being 
indicated in the folds of the drapery on his right side. 
The general character of Richard's costume is very similar The effigy; of 
to his father's, the chief difference consisting in the **<**»*'* !• 
mantle, which is fastened by a buckle on the breast, 
instead of on the right shoulder, and in the face with 
beard and moustache, a custom again prevalent in 



VBM BTEANTINI OOUBT. 

Bicdhani'* isign. Phma thoM M^m, and thai ti John 
ftt Worcester, ^e Ie«Tn, oboeireB Mr, Planch^, "that the 
eoTonation Tobes of these monardiB were centposed of 
two ttmics, (the npger with looee deeree, called a dol- 
•■ inatiea) of nearij equal lengtha, tmd girded nmnd the 
waist bj a lidi belt, over whi^ was wonk the mantle, 
qdendidlf emtnndered, tlie crown, the sword, the 
jewelled f^orea, boots, tmd spun without rowda. Tbs 
memo drMH was worn abo on state occasions." 

The ct^Qion found by Hr. Stothaid on the effigf of 
BitJiard were the following : — 

The mantle blue, with an ornamented gold border; ttie 

* dalmatic or super-tsnic red ; the under^iimc white, and 
beneath this the camite, or shirt. 

We have already noticed at some length the statuo of 

* Ridtaid, formd at Ronen, and hare mentioned its want 
of amiUtude as a portrait ; this one would seem to bear 
a close Teaemblance to the lion-hearted long, as he has 
been described by Tarioas wiiteis. We may here renutTk, 



that it was a tery general custom in the iMrteenth and 
fonrteenth centuries for the body to be deposited in one 
nte, the heart in anetlm, and the fisceia even in another. 



INTERIOR Of ran COITRT. H 

Thus we find Qaeen laAanor, wife of Edward I., had ^iSi^J^er 
tliree statues to Iter meDu»y, over her body, and OTer separate 
her hearty at WestmiBster, and over her viscera atj^^^^^ 
lincohi. Instance. 

Two statues were raked for the same reason over the 
monuments of Marie de Bourbon, and Blanche d'Artois ; 
also over the body of Philippe le Hardi at St. Denk, in 
12S5, and over his viso^ra at Karbonne. Instances 
might be mtiltiplied of this custom, and it woold seem 
probable that the dhninutive statues, so often found, JJJ^™^ 
and which have so puzzled antiquaries, were memoriak of haye origi- 
a portion of the deceased only. twScMtom. 

The Abbey of Fontevrault was the privileged burial Fontevraait 
place of the Plantagenet family. Henry the Second, who ^^s'**^^ 
bought the church, desired to be buried in the nave, and 
Biehard ordered his body to be placed at his royal 
fathex's feet. 

The following extract is finom a GhiQ&idttf d the Extract from 
thirteenth century, published by the Historical Society JJ^jU^^^^ 
of France : ^* li rois Henris moult fd povre a sa mort, et 
si fu enfoftis a Fcmtevraut. Puis mourut li boias' lois 
Eichars et fu enfouis a Fontevraut, la boine abbaye de 
nonnais que il avait tant am^."* The heart of John SjT^^ 
(Laddand) was placed in a gold casket near the tomb of nets buried 
Henry IE. The tomb of Isabella also contained a vase, ^^"^ 
having in it the heart of Henry II. Joanna, sister of 
Biehard the lion-hearted, and her s<hi, Raymond, Ck>unt 
of Toulouse, were also buried here ; and the part ai 
the diurdi where the bodies were j^aced, was long known 
as the Royal Cemetery. 

In the seventeenth century, Jeanne Baptislie de Bemotal of 
Bourbon, a natural daughter of Henry IV. of France, *****' *®°***' 
was abbess, and caused the tombs and bodies to be***®*'*^? 

- ^ ' and rediff* 

moved from the nave to the choir. During the RevcH cotery. 
lution they were removed altogether and lost. Mr. 
Stothaid, the author of ^* Monumental Effigies^^ dis^ 
covered them in a cellar at Fontevrault, and they were 
subsequently sought to be purchased for Westminster 

* ^'King Heniy ^ru very poor at the tine of his deati^ a&d wm 
Inuiad at Fontevisalt. Mt&ntterda died, the good King Biehard, 
knd was buried at Fontevrault^ the good abbey of nuns which hef 
had loved so much/* 



90 THB BTZAHTm COUKT. 



Abbey. Hut, howerer, wm not acceded to by the 
French goyenunent ; and thej aie noir preserved in the 
Ccmveiitiial Ghnrcb, and protecied from farther injuiy by 
an iron railing. Oar authority for these statements is to 
be foand in the fifth Tofaune of Didion's *' Annalea 
Archflsologiqnea. " 
King Jobs: Xhe effigy of King John, from Worcester Cathedra], is 
cester. one of the moat ancient existing in England. It is of 

stone, and bean a close general resemblance to those 
of Henry and Bichard, thoag^ not eqoal to them in 
execution. 
DeieHirCfm The right band holds a sceptre, the left hand a sword 
of the effigy. ^}||^ enters the month of a bon couchant at his feet ; 
his head is supported by two bishops (Oswald and 
Wulstan, in whose chapel he was buiied) ; he died 
A.i>. 1216, about which period this statue was doubtless 
executed* In the year 1797 the dean and chapter 
determined to open his tomb, in consequence of a 
ramour that the body was never laid there, it being 
known that the effigy had been removed at some 
DifeorMjof time from its original site. When it was opened, the 
bUbodfy body was found in its royal robes, but appeared to 
have msSesred from violence, the skull, particularly, 
being much broken ; vestiges of the nails yet remained, 
Itiifooid and some gray hairs yet dung to the head. The 
^d like the <]je8S of the corpse exactly corresponded with that 
of the monumental effigy, with the exception of 
the gloves and the crown, the latter being superseded 
in the coffin by a monk's cowl, in which John 
expressly desired to be buried, as a passport through 
purgatoiy. 
umUtme of His dress consisted of a crimson dalmatic lined with 
tb« corpse, gi^een, the border being of gold, studded with jewels ; 
his tunic, or under-robe, was of cloth of gold, tiie hose 
red, the spurs gilt, and over the feet black cloth 
coverings. On the effigy are shown jewelled ^YfSj 
whidi were not found on the corpse, 
p^^l^^ This king, so well known in our annals, died at 

Kiflff Join. Newark-on-Trent, aged fifty-one ; his bowels were buried 
in the honse of the Prsemonstratensian monks, at Croxton, 
and his body was carried to Worcester, where, according 
to his directions, it was buried. 



n 



GALLERY. 97 

The pavement of tliis court is oomposed of imitations 5^^TJJ2'* ^^ 
by Messrs. Orsi and Armani of different examples of 
inlaid marble from Florence. The external border is 
from San Miniato, near Florence ; and the broad band 
from the baptistery of the cathedral in that city. The 
style is peculiar to Tuscany, and was appUed very .„ j.,^^^_ 
generaUy at the close of the twelfth, or begmning of the tine mosaic, 
thirteenth century. ^^ **'*• 

GALLERY. 

The entrance from the Sydenham transept to the Chmoelareb 
gallery of the Byzantine Court, is formed by the chancel J^^t^^Si. 
arch of Tuam Cathedral, county of Galway, Lreland. 

Dr. Petrie, whose work on Lish architecture, &c., is 
most to be relied upon, and to whom is due the honour 
of having afforded us the first authentic, and most 
valuable information on Ldsh antiquities, is of opinion 
that the church at Tuam was built between the years 
1120, when O'Hoisin or O'Ossin was abbot of Tuam, ' 

and 1150, when he was made archbishop. Its precise 
date, however, is not ascertained. Of the old church 
only the chancel remains. Its great triumphal arch is SJn, ^ ^' 
formed by six concentric, and well-recessed arches, with 
angle columns, the shafts of which are .plain, but the 
caps richly carved. The bases are plain, and the mould- 
ings of the soffits, with their accompanying ornament, are 
well executed in low relief, with a peculiarity of style not 
found on contemporary works elsewhere. 

The piers inside the gallery, on each side of Tuam Rathain 
chancel arch, are from the Church of Rathain, or Rahin, ^°"*'» 
near Tullamore, Bang's county, Ireland. 

The chancel is the only remaining part of the original description 
structure. On each side of it are three rectangular piers, mains; 
rounded at their angles into semi-columns, which support 
three semi-circular arches, entirely imomamented, except 
by a plain architrave on the external one. 

The capitals on which the greatest richness of ornament 
is found, are those on the third or innermost of these 
piers at each side. These ornaments, though similar in 
general design are dissimilar in detail ; and their bases, 
which differ in like maoner, are very remarkable. This 

H 



08 



THE BTZAKTIKB COUKT. 



probable 
date. 

Frcshfonl 
church, 



when 
rebuilt ; 



trntiffUtton 
of Inwrlp- 
tlon; 



• imilaiity 
of style to 
Kormitfi 

work. 



A eharactcr- 
iMtic of IriHh 
arcliUecturo. 



Monaic work 

probabljT 

used. 



The Tnam 

triplet. 



Circular 
window from 
Ilathain 
Church. 



cliurch, Dr. Petrie believes after mticli patient iiiTesti- 
gation, to have been built in the eighth century. 

The central doorway, looking towards the gardens, is 
from the Church of Freshford, or Achadh nr, co«nty 
Kilkenny. Originally founded by St. Lachlin, in the 
seventh century, it was rebuilt towards the ek>se of the 
eleventh, or beginning o( the twelfth century, as a per- 
fectly legible inscription on the doorway tends to prove. 
This inscription is in two bands, on the external face of 
the inner arch. The letters, as usual in all ancient 
inscriptions, axe indented, and are thus translated. The 
lower band, " A prayer for Niam, daughter of Core and 
for Mathghamain O'Chianneic, by whom was made this 
church." 

The upper band being, " A prayer for Gille Mocholmoc 
()*Oencuain, who made it." From the use of sumameiB 
not being established in Ireland until the eleventh c^i- 
tury, and from the occurrence of O'Ciarm^c, a name 
frequently found in the Irish annals dur^g the eieventh 
century. Dr. Petrie justifies his opinion. 

A near resemblance exists between this doorway and 
those of the Norman period in England, consisting cl»efly 
in the greater richness of its decorati<ms, ihe bold- 
ness of its sculpture, and the forms of its capitals and 
bases. 

As a characteristic feature in Irish architecture at this 
period, should be noticed the grotesque lions' heads, 
sculptured on the soffit of the external erch, immediatdiy 
over the imposts. Some portions of the omamttit bear 
a marked Byzantine impress ; and there appears every 
reason to believe that mosaics were once inserted in 
the panels of the jambs. 

The lower, openings to the left are formed by the Wplet 
or group of three lights from Tuam church. The whole 
of Uie ornament is carved in very low relief, and beaz^ 
that peculiar character common in the Irish diurches, 
which would seem to speak of the influence of Byzantine art. 

The circular window above this is from the Church of 
Bathain, in Ireland ; one of the moert remarkable, anil 
probably the most ancient, existing in the i^tish isles. 
The sculpture, as usual, is in exceedingly low relief, wiHi 
the boss-like ornament seen also <m the Freshf oid <k>or. 



e AIJiERY. , 99 

Tbsd flat-worked zig-zag omament of the inner face is 
very curious and pretty. 

It would appear that the builder of the old church, 
the piers and windows alone of which are left uninjured, 
was Ua Suanaigh, who is said, in the ^^ Annals of the 
Four Masters/' to have died in the year 7&8, but in the Date of the 
more correct annals of Tigheinach, in the year 763. ^^^^f' 

Dr. Petrie^ with much learned research, establishes 
the fact that Ua Suanaigh was the builder of the did 
church ; and as there ore no records of a later re-«rection, 
or of devastations by the Danes, or others, which would 
create a necessity for such re-erection, he concludes that 
this church, ^' as its style of omament would seem to 
indicate" (and, consequently, the window also), was date of con- 
erected about the middle of the eighth century. struction. 

The peculiar character of these monuments must strike 
every one at aU acquainted with other developements of 
the Byzantine, or Komanesque style in Europe ; they are 
of a style indigenous to Ireland, and although want of style 
space will prevent our noticing the history of early Irish ^^{^£.0? 
civilisation in a detailed manner, we shall proceed to say 
a few words about it, satisfied that it will be a novel sub- 
ject to many of our readers. 

That Christianity was introduced into Ireland at a An account 
very early period, is perfectly well authenticated. Not christfan* 
so the source from which it was derived. Its insulated church in 
position, combined with other cireumstances, led to a ^"^^^' 
particular form of creed and worship very different to those 
of Rome, and strongly savouring of a Byzantine origin. 
This isolated Church, and its accompanying school of art, 
both characterised by strongly marked peculiarities, 
flourished most from the end of the fifth to the eighth 
or ninth century. The chief founder of it was St. Patrick, 
who is stated to have died in 465 ; and his plans for its 
extension devolved on such men as Columbanus, Aidan, 
Kilian, and Columba. They performed their mission with 
a zeal which obtained for them a deserved success. 
Columba visited Scotland (a.ix 563), founded the cele- to Scotland, 
brated establishment at lona in the Hebrides, and was, 
till a comparatively late period, the patron saint of that 
country. In the seventh century we find his successors 
energetiea^y opposing the progress of the Beman emissa- 

h2 



r 



100 



THB BYZANTINE OOUBT. 



EnglMid, 



lUlr, 
Switzeriuid, 



and 
Gennanj. 



IrUli Bcbool 
of art, 



its excel- 
lence in the 
■erenth cen- 
tury; 

its reliqnes 
in Earopean 
libraries ; 



lies of the Aiigastine miBsion ; and so successfully did they 
hold their ground, that we find, in the year 650, Aidui 
made Bishop of Lindisfame, by the ruler of Northum- 
berland. 

But the zeal of the Irish missionaries, and their peculiar 
creed and art, were not confined to the British isles. In 
the seventh century, the Monasfceiy of Bobbio, in northern 
Italy, was established by Columbanus ; and that of St. 
Gall, in Switzerland, by Callus ; both Irish missionaries. 

Of the same period and oountiy were St. Kilian, the 
apostle and martyr of Franconia ; St. Fridolin, founder 
of the monasteiy at Seckingen ; and St. Fendan, of that 
at Bheinau. Pelagius, the propounder of the celebrated 
Pelagian heresy (circa 400 A.D.), had set an example of 
Irish vigour of thought and activity of body which appears 
not to have been lost on the later missionaries ; and 
Alcuiuy the Mend and instructor of Charlemagne, calls 
them " gloria gentis ;" whilst another writer -observes, 
that travelling appears to be their prevailing passion. 
We may here observe, that the word " Scotus" bore 
no reference to Scotluid in particular, but was applied 
to Irish and Scotch indifferently, or merely denoted a 
member of that particular Church, which flourished 
equally in both countries. 

In close connection with this Church existed a school 
of art, remarkable for its sense of the graceful and 
the grotesque, and for its superiority, in point of orna- 
mental design, to any other style of the same period 
— ^Byzantium itself hardly excepted. In the seventh 
century especially, Ireland was celebrated for its illimii- 
nated books, its authors, its music, and its academies. 

That its influence extended much farther than is 
generally supposed, would appear certain, and not only 
did Scotland, Wales, Cornwall, the North of England, 
and Scandinavia adopt its peculiar system of ornament, 
but some of the most celebrated illuminated works in 
the various libraries of Europe, are now discovered to 
have emanated from that school The prevalence in 
Scandinavian lands of the Irish school of ornament, is 
still to be seen in the very interesting wooden churches 
of Norway, at Umes, Ober Fellmarken, <fec, which have 
been well illustrated by M. Dahl, and from which we give 



GALLERY— IRISH CE03SE3. 

the foUowiiig chftnu^terurtio [deoe cf oraaxaeat, correa- 
ponding remarkablj with some of the lacertine omamant 
on the celebrated croBS of Cong, preserred. in the miueiuD 
of the Boyal Imh Aoademy, Bnblin. 



>t CuTtd In Wood, rcDM Chimh, Konrif . 

The ftrchiteotuial Bubjecta here collected will give some 
idea of the introduction of such ornament in the art 
of building. The Iriah croHaes will afford a notion of 
their monaaiental style, and the Manx croewB are 
interesting memraials of its external inflnence. 

The Manx crosses are such novel objects in our col- ita loflnetm 
lection of antiquities, this being the first time that caeta '^^ ^''^ " 
of them have ever been taken, that we shall gladly avail 
ourselves of the information kindly forwarded to us by 
the Bav. J. G. Camming, a gentleman who has devoted 
much zeal and learning to their illustration : pi«miaing, 
however, that our q;iace obliges us to abridge it consider- 
ably. The Danes and Korthmen occupied the lale ofgjjg^ 
Man from the beginning of the tenth to the latter part ocoapr tlie 
of the thirteenth century ; and the memorials of their ^^ 
occupation are distinct, and numerous, both in the social 
institutions of the island, in the names of hills, riTWs, Ac. , 



102 



THE BYZANTINE COUKT. 



Nomnoiis 
Bnnic 



Inierooorse 
between 
Ireland and 
iBleof Man; 



the nfgh- 
lands and 
Lowlands. 



Nature of 
scnlptare. 



ManxRnnes; 



chiefly of the 
11th century. 



Meaning of 
the word 
Bone. 



Yailetieeof 
Runes. . 



Kirk. Brad- 
dan cross. 



and especially in the Ranic crosses, wkich in tiie 
northern part of the isle are so nnmerons, that in a 
mountainons area of sixteen miles hy ten, no less than 
twenty-nine different examples are to he found. 

Many of them have inscriptions in Runic characters 
and in Icelandic, the ancient Scandinavian tongue. The 
close connection between the Northmen in Ireland, and 
their countrymen in Man, serves to explain the similarity 
of the crosses foimd in each island, and their resemblance 
to those in the Western Highlands, and Scottish Low- 
lands, is explained in the same manner ; but the Manx 
crosses are distinguished by local peculiarities indicating 
a less advanced state in the art of ornament. The 
various animals, weapons, &c. which are found on them 
have no object probably beyond ornament, as they are 
often employed as terminal ornaments alone ; the cock 
being a favourite bird for the last purpose. 

In all cases, the cross has a circle, or glory, more or less 
indicated upon it, and the Runic inscription is written on 
the edge, from the ground upwards. In some minor 
particulars the Manx Runes differ from those in ordi- 
nary use, .and consist of fifteen letters, some of them 
representing however two or more cognate sounds ; the 
language of the inscriptions indicates that they were 
mostly engraved in the eleventh century ; when the 
bishops of Man were Norwegians, or of Norwegian origin, 
owning the Archbishop of Drontheim as their metropo- 
Irtjin. The authority of the see of Rome not being 
recognised till a later period. 

Those of which casts are exhibited exemplify the 
principal rarieties of style. Many haye been recklessly 
destroyed, and many of those now discovered owe tfieir 
preservation to having been built into the old parish 
churches, and brought to light only when they were pulled 
down to be rebuilt, between the years 1825 and 1835. 

The Scandinavian word Bun orRune, means "mystery,** 
and these Runic or mysterious writings were of various 
kinds, as Mr. Kemble, whose attention to the subject has 
obtained such vnlnable results, has shown. Thus the 
German, Icelandic, Irish, English, and Manx Runes, are 
by no means identical. 
• The first one to the right on entering from the Tuam 



GbOiLSBY— IBI&H C&OSSES. 103 

GhAncel arch is la BraoLdaa chiirdiiyard. It is tlie most 
elegant and highly finished of any in the island, being 
csarved with scale-covered animals on both its broad and 
on one of its narrow sides. The remaining side has the 
following inscription, " Thurlalr Neaki disti krus thana 
aft: Fiak sun in bruther sun Jabrs." (Trans.) "Tharlaf 
Neaki erected this cross to Fiak son of his brother son 
of Jabr." The date of this cross is probably about the 
xoiddle of the twelfth century. 

The next, continuing on the samje side, beyond the Kirk 
doorvay, is from Bjxk Michael churchyard and is one cross, 
of the earliest in the island, being probably of the close 
•Qi the tenth century. The inscription is, " Mail Brigdi 
sunr Athakans Smith raisti krus thana fur salu sini sin 
brukuin Gaut girthi thana auk ala i maun," or ^^ Malbrigd, 
son of Athakan Smith, erected this cross for his soul 
.... Gaut made this and all in Man." Gaut's name 
occurs on a cross at Kirk Andreas where he caUs himself 
" Siinr Biamar " or Bjomson. 

Kext to this is a cross of later style than any of the A cross from 
others, and without an inscription ; it stands near the ^ *°' 
south door of Braddan chuxck 

The last example on this side presents to us a %uje 
playing on a harp, a stag pursued by a dog, and two 
holding swords reversed. The inscription is written on 
the backy and appears to have been, " Tader Pongal 
erected this cross to Mai Muru his foster-father." 

The one. on the right, aa we face the Freshford door, from Kirk 
isk froni the churchyard of Kirk Andreas. It is oma- -^^^^^^^^ 5 
xoented on both back azid front with horses> stags, dogs, 
pigs, goats, horsemen, and a female on horseback, pro- 
bably meant to represent Ambjorg^ who is mentioned in 
the inscription, '^ Saiululf ein swarta raisti krus thana 
after Am Biaug, kuina sina," or, " Sandulf the Swarthy 
erected this cross to his wife Ambjorg," 

This cross is remarkable for the absence of the usual 
circle or glory. 

The left-hand one is the largest but one, ^d the most 
perfect in Man ; it stainds in front of the church gate of from Kirk 
Kirk Michael ; figures of stags, dogs, horses, and horse- Michael, 
m^n, are carved on it ; on the base is an ornament of 
^cale-covered animak : the insmption is, ^^ Jualfir sunr 



104 



THE BTZANTINE COUBT. 



Oeeunenoe 
of Scandi- 
navian 
names. 
Irish cross 
from Kil- 
erispeen; 
its sculp- 
tures. 



Grosses fh>m 
Dannama- 
gan and Kil- 
keiran. 



Notes on the 
style cf orna- 
ment. 



Thurulfs eins Eautha risti kros thana aft Friihu mttthnr 
sina," or, '* Joalf, son of Thorolf the Bed, erected this 
cross to his mother Frida." 

The occurrence of the Scandinavian names, Joalf, Fxida, 
and Thorolf the Bed, is interesting. 

The first cross in the centre of the galleiy, on entering, 
is from Kilcrispeen, Irehmd ; on its shaft are seen four 
human figures platted together. On one of the broad 
sides of the base is a human figure, with a variety of 
uTiinfiftln round him, under what appears to be a palm 
tree, possibly meant for Adam in Paradise. On the 
opposite side are seven figures in a row, the central one 
apparently giving instructions to the other six, who carry 
pastoral staffs ; they are called bishops. One of the 
narrow sides shows a chariot drawn by a horse, the driver 
and another being in the car, two horsemen, and two 
dogs. The fourth side of the base presents a very curious 
funeral procession : an old horse is led by a halter, the 
person who holds it carrying a pastoral staff ; before him 
is a figure carrying a cross of the same form as that on 
which it is carved, a smaller figure precedes him. On the 
horse is a human body without a head, naked, and with 
the legs hanging on each side of the horse's neck. Two 
ravens fiy round him, one of whom picks at the gUdeus 
maxirmbs. Behind the horse are seen a figure with a 
child at its back, and a small dog. The story meant to 
be told is at present unknown to us. Two others are 
placed immediately outside this, which may periiaps be 
called the Irish Vestibule, on the garden side. The 
shortest is &om Dunnamagan, Kilkenny County. The 
long thin one, which calls for no x>articular description, is 
from Elilkeiran Church. 

On one side of the Dunnamagan cross, in the centre, 
is Christ crucified, and in a species of niche beneath, a 
bishop, and two other figures. 

At the back is another figure, much defSetced. 

Concerning these Irish crosses, little authentic informa- 
tion can be given. They are ornamented with that 
peculiar lacertine work, which is foimd in the old Irish 
illuminated writings of the seventh and eighth centuries, 
and emanate from the same school as the crosses in the 
Court of Monuments of Christian Art. We have already 



QALLERT— IRISH CSOSSBS. 

notioed tbe influenoe of the Iiiali school of art in Soot- 
land, of which the followiiig example from an ouoieiit 
atone in Aberieinno ohuroh-yard, when compantd with 
some of the ornament (Hi the Irish and Manx craoBes, 



OmimsDt from ■ aloiie hi Abttlemgo uhnrehjud, 

will affitid an inteieating proof. Memorial stoneB of this OtlsliHl 
nature were raised bj the nnoonTertod inhabitants over ^^^^ 
their dead, and were adopted bj those of the new faith. 
Some, the dates of which are ascertained, were raised 
as Ute as the twelfth century ; but in the abeenoe of any 
positive information bh regards the others, we leave 
them a subject for conjecture or future investigation. 

On each side of the centre entrance to the Court from 
the gallery at its bock are examples of Norman door- 
ways : the one on the left in facing the nave is from 
Birldii Church, in the West Riding of Yorkshire — a gJJJ^^ 
well-preBerved and interesting specimen of Nonnan archi- chanb, 
tectnre, of which no authentic records remain. Hie 
Kev. Mr. Green, the rector of Birkin, has, however, 
kindly informed us, that the manor of Temple Surst, in 
the parish of Birkin, waa granted by Balph de Hastings 
to the Knights Templar in the year 1163 ; and a pre- Sm^*'^ 



10« . THB BYZANTINB COUBT, 

cepiorjr of the order was thea btdlt, of whkth traoea ealj 

ternain. The style of architecture seen in thk doovway 

ivould indace us to suppose that it was buiit about that 

time ; campanug: this with the Shobden and Ki^eek 

doors, we remark that the bases are more regular, the 

of ^*d**uSi^ Aafts of the azigle-eoluniBS plain, the capitals more 

' richly ornamented and of more studied design, and the 

neckings varied ; the impost is moulded, and the archivolt 

well combined. The beak-head, and zig-zag ornaments, 

are very prominent, and the outer face of the arch is 

filled in with very pleasing ornamental designs. No 

pnre Nor- ^g^^^s are seen ; and in this monument we recognise a 

man. design of very pure Noiman style. 

Romsey ^o corresponding doorway, on the left, is from Komsey 

an? sholw " Abbey, the sculpture in i*ce head of its arch being from 
sculpture. Shobden ; it exhibits Christ victorious over the spirit of 
evil, embodied by the Dragon. The other figures repre- 
senting probably the founder and his family. 

The painted vault which covers the compartments, into 
which the Romsey Abbey door opens from the Court, 
has been taken from the mosaic enrichments of one of the 
vaults of St. Mark's, at Venice. It has been executed by 
Mr. Beenson from full-size cartoons worked out by 
Mr. R. P. Pullan, from Mr. Wyatt's studies on the 
spot. 
Ceiifacr £rom The painted oeihBg of the adjesniag compartniMUks, in 
^^^^ the centre of which stands the Winchester footy is £ram 
the upper church ol the Convent <^ Stw Fma^ at 
Assisi, by Cimabiie. (1240'130a> 
description. In the four compartments of the vaoltiiig are^— tha 
half-leng^ figures of the Saviour, with the insociption^ 
'^ Jesus C^tus rex gloiisa," St. John, with that of ^^ S. 
Ciones baptist, ora pro nob,''"^ — and the Madooziay and 
St. Francis (whose hands and sides aref marked by the 
stigmata), with similar iQserq)tions. All four have the 
pkon nimbus* Two aiigels, each with a globe and cross, 
occupy the long spandrels of eaeh oompartmeBt. The 
ndnbow (»3iameiit which ^icircles the large heads, is waU 

* Traoalatioa : ''St. John the Baptist, piay for us." 
•f* St. Francis is said to have miraculously received the wounds 
or stigmata of Christ, from the deep and pitying sympathy he felt, 
(HI the occasion of the Sttvioiir appeafring to him in a vinoa. 



GALUERY— CBILma. 107 

maoaged and onghwl ; the refit of the anoaiaeiLty m 
which the winged ball of St Lizke, the patron aaixit of 
painters, is seen, hsus quite a Kenaissance character. 

The hair of the azigelB, it may be remarked, is of 
a deep yellowish red, poaaibly sjnnbolic of the warmth 
of their love, or copied £rom the peeialiar auhum tint 
to be found only in Italy, and especiaUy in Tuscany, 
which was subse«pently so nmch admired by Titian. 

Gimabue who was employed at Assisi, about the year ^|^<9 of 
12d0, was bom of a noble Floreniisie family in the year 
1240, and, as we have already stated, was the pupil of 
Greek artists who were w^ocking at Florem^. He, how- 
ever^ quickly surpassed his instructors, and having 
attained much reputation in his native city, was invited to opinions as 
assist some Greek arti£rbs who were decorating the Church at Assis? 
of St. Prancis at AssisL ^^ In these wodcs^" aeays Yasari^ 
'^ he greaiiiy excelled those Greek mastexs, and encour- 
aged by thisy he began, alone, to paint the upper ch\uch in 
fresco. " It is a compartment of* this work which has been 
ably reprodueed by Mr. Clayton from valuable original 
drawings.* Cratabue died at Florence, A.i>. 1300, or 
1302, leaving a pupO, Giotto, whose fame is known to 
all the world. We may remark here that a variety of 
opinions exist as to the truth of Cimabue having painted 
in the upper Church of Assisi, — ^Eiimohr, on the oos 
hand, dedaEKug that Vaaari Jiad no anthcoity whatever 
for the assertion ; while Professor Kiigler is distinctly of 
opinion that Qimabue was employed in the declaration 
of the upper church, and the well-inforined author of 
Murray's Italian Handbof^,. sustains Yaaari's opinie«t. 

The town of Assisi, between Borne and Florence, is 
rich in treasures of art. The celebrated Franeiaean J/^^a^tei'^^ 
convent and church were commenced in the year 1228, 
hy Jacopo the German, otherwise Jacopo di I^^, fatizfir 
of the famous Amol£[> di Lapa It is one of the best 
Gothic buildings in Italy^ and is remarkable as having a 
kige subterranean crypt, a church, called the middle cor 
lower church above that, and a still larger one above 

* Made oa the spot by M. Benuelle, of Fari% and Mr. Wyatt. 
M. Denuelle's drawing, which was one of the best of Mr. Wilson's * 

well selected acquisitions, was borrowed from the Government 
School of Design. ■ 



r^ 



108 



THB BTKANTINB COUKT. 



FeenllAr 
anrmnge- 
mtnt. 



Winehester 
font^ 



its date 
diipated; 



deteription 
of font; 



Bcalpturesof 
first side ; 



of the 
seoond; 



of the third; 



thaty called the Upper Church, ixosaa the roof of which is 
taken this spedmen of the first artist who freed himself 
sacoeasfuUy from Byzantine trammela 

The large black marble baptismal font in the centre 
is from Winchester Gathednd, and from the disputes 
which have arisen as to its antiquity, it has been called 
the '^ Crux Antiquorum." 

Gough, as representatiye of the earlier antiquaries, 
ascribed it to the time of Birinus, first Bishop of 
Winchester (630 — 650) ; whilst Britton, who is more 
trustworthy, considers it to be of the time of Bishop 
Walkelyn (1070 — 1097), the style of dress, mitre 
and crosier, indicating that period. At the Church 
of East Meon, also in Hampshire, founded by 
Walkelyn, is a font of precisely similar character — 
a fact that corroborates Mr. Britton's opinion. In 
the antiquarian works, however, of the present day, 
a still later date (that of about the year 1150) is 
assigned to both the fonts. 

The top of this font has a circular opening, ornamented 
with a twisted band or ribbon, alternating with radiating 
lines, which in Mr. Lewis's theory would represent divine 
rays, the circle being an emblem of the Infinite. In two 
of the angles are doves drinking out of a vase, from which 
rises the cross, symbolic of the gentleness of the Christian 
soul after baptism in Christ The other two are filled in 
with foliage. 

One of the sides is ornamented with three circular 
bands, fastened together, and containing birds, apparently 
doves or pigeons, pecking at grapes : an allusion, doubt- 
less, to the Christian soul obtaining life by means of 
Christ, who is the vine, ''the true vine." (John xv. 1.) 

The next side is of the same general design ; but in 
the centre circle is a wild beast, evidently meant to 
represent the evil spirit, and the birds, who have no 
grapes, hAve open flapping wings, not closed in rest as 
those of the first side. The daws of the animal and birds 
on this side are strongly marked ; and the general idea 
seems to typify the state of the unregenerate. 

On the third side are represented women leading men 
to a bishop, at whose feet one man kneels ; his costume 
would seem to indicate an Anglo-Saxon. That these are 



GALLERY— WINCHESTER FONT. 109 

people of distinetion is made clear, by the falcon or liawk, 
which one of them bears on his wrist. The chturch from 
which the bishop proceeds is in the Norman style, with 
a roof formed of circular tiles, and a door remarkable 
for its lock and ornamental hinges. 

On the fourth side a bishop is represented holding a f^^ . 
small figure by the hand, and apparently telling it to be 
of good cheer ; whilst another figure, with an axe, kills 
or knocks down three men at a blow. 

Farther on stands the same bishop, with his crozier 
resting on a recumbent figure, apparently the same youth 
who holds a cup in his hand on the extreme left, the 
bishop grasping him by the arm. And, lastly, three men 
are seen in a boat, two of whom are in attitudes 
expressive of grief, whilst the third has his hands raised. 
This figure Br. Milner thinks represents St. Nicholas 
stilling the waves of a storm. 

Besides the large central support, are four angle- {Jjg^^*^ *"* 
columns, one of which is twisted, resting on a base 
ornamented with a double row of radiating lines. 

The four columns may be t3rpical of the four evange- 
lists, and the lines beneath probably represent water, an 
emblem of the Holy Ghost. 

This style of font was common during the time of the Style of font. 
Norman era, and formed the model of many down to 
a late period in the Pointed style. They were large, Notes on 
being intended for total immersion, and ornamented with ^o"*** 
symbolic sculpture ; the material was generally some 
hard stone, as granite or marble, — ^the Council of Lerida, 
held in the year 524, having passed a decree to that 
eflfect. When this was not easily obtained, lead was 
sometimes used. 

Instances occur of bronze fonts, and at Canterbury one 
of silver is recorded. As late as 1236 an ecclesiastical 
constitution required a stone font to be placed in every 
chtu'ch, large enough for total immersion. These ancient 
fonts were frequently preserved when the church itself 
was destroyed, as is the case with the Eardsley font. 
The importance attached to the font disappeared in the 
seventeenth century, and in an account-book of St. 
Martin's church, Leicester, is the following entry : — 
*' 1645. For a bason to be used at baptism, 5s." 



^ 



no THE BTZAimirE OOUBT. 

Dr. Hiinei's l%e late learned Br. Milner in bk dea6ri|itkm of 
oMh?^^ Windieeier, finds in tbeae rude ^cnlptaies, ilkwtrationB 
tures. of TanoiiB peanges in the life of Si. Nicholas of Myra^ 

in Afda Minor, the patron aaint of children.* 
Eardsiey The next font is a y^y intetesting one, probably of 

scrii^d^ the twelfth centoiy, now pawaerred in Baardsley Church, 
HeMfordahize. It is a richly worked example of inter- 
laoed ornament, showing the influence of the native or 
early Celtic school 

The moat prominent figure among those whichi wind 
through the foliage or bands is an enormous lion (the 
oTil one) who evidently goes about roaring "seeking 
whom he may dcTour," and flying from before him is seen 
a boly man, wbose head is encircled with a plain nimbus, 
whose feet fail to support him, and who in his distross is 
grasped tightly by the arm by a larger figure, whose cruci- 
form nimbus, and staff terminating in a cross, indicate the 
Saviour. Farther on a saint is ^own, clasping the holy 
scriptures to his breast, and defended by a man with 
a lance, against another who is armed wilii a sword, and 
whose thigh is pierced by the lance of the first. The 
costumes of these two are Anglo-Saxon, and resemble in 
general character those on the Kilpeck door (same county). 
The explanation of the first subject is too dear to need 
comment, that of the last would doubtless be found in the 
history of some local tradition. Although the sculpture is 
of the roughest description, yet it tells its ^tory well, and 
is characterised by an excessive energy of action, border- 
ing on the ludicrous. 

* The first enhject he thinks describes how St. Nicholas saved 
three young women from shame by presenting to their father a 
dowry for tibem. In the ship he is seen quelling the fury of a storm 
by prayer. The boy with the cup, seen drowned in the water near 
the boat, is on the extreme left represented as brought to life by the 
Saint ; and the man about to strike down three figures at a blow, 
alludes to a passage in the Saint's life, when he saved three young 
men who were about to be unjustly executed. 



\ 



COUKT or CHRISTIAN ART MONUMENTS. Ill 



COURT OF MONUMENTS OF CHMSTIAJSr ART. 

(aDJOIKING the GB3KAT CSarTRAL TBAlfBEPT.) 



The following objectB have been selected as illustratiye 
of early art,- based upon Byzantine tradition. The most ^^^^ i^^l^ 
important are the highly interesting series of Irish crosses, xuam mar- 
the loftiest of which is the great cross from Tuam market- ^^^ P^^^' 
place. 

On its base are the following inscriptions, in Irish : — - inscriptions 
'' Pray for Turloch O'Conor, for the Abbot by whom was l^ow"^ 
made this cross." And on the opposite side, ^^Pray 
for O'Ossin, for the Abbot by whom it was made. " About 
twenty feet up the shaft occur two other inscriptions ; 
one is " Pray for the King, for TJurloch O' Conor ; pray 
for the artist the servant of Christ " 

The other is, "Pray for the successor of Jarlath, 
for Aed O'Ossin, by whom was made this Cross." 

Turloch O' Conor was monarch of Ireland from the year ^^ ^^^' 
1121 to 1156, aad O'Ossin was Abbot of St. Jarkth's 
from 1128 to 1150. 

It was this abbot who erected the old Tuam Cathedral, 
the chancel arch of which forms the entrance to the 
Byeantine gallery. 

The lazgest in bulk of the three crosses displayed in 
this Court, is the great cross of Monasterboice (county from Mraas> 
liOuth), which has unfortunately suffered much from *»r^o*c«» 
Tiol^ice. There is no inscription, but among the figures 
may still be distinguished,— The Crucifixion, St John ZX^r^ 
baptising Ohrifit, and the Sacrifice of Abraham. on the shaft ; 

Mr. Hieniy O'Neill, to whose kindness we are indebted 
for our principal information on these remarkable crosses, 
and whose interesting work upon them will be a valuable 
addiiion to our arohceok>gical literature, caused the day 
and stones which formerly oovered up the base to be 



112 



THE BYZANTINE OOORT. 



KolptimMi 
its 1mm 
cteMribed; 



Similaritf of 
treatment at 
difforent 
periods. 



SeolptiiTB 
continued. 



removed last year, and found it as it is here seen. On 
one side of the base (the east in the originiJ) are two cava- 
lieiB, and some Luge animal, probably a lion, with a poetic 
length of taiL Beneath are two panels of interlaced 
work. 

<* The first panel on the shaft contains the FaQ, and 
Cain and ' AbeL The subjects of the second and third 
panels are not yet solved. The fourth one is most 
probably the Visit of the three MagL Joseph appeafts 
about to receive the Divine Infuit, for the purpose of 
showing him to the wise men. Above the Child's head 
is a star. Next over that panel is St. Michael, ' The 
Lord of Souls,' weighing a human spirit ; whilst the 
evil one, though prostrated by his great conqueror, 
endeavours to reverse the favourable result by firaudulently 
pulling down the opposite scale." 

We would here draw attention to the curious fact of 
precisely the same trick being represented on the tomb of 
Henry Vll., by Torrigiano, as will be seen on reference 
to it ; thus lowing how closely conventional or traditional 
subjects were copied by the artists of successive gene- 
rations. 

In the centre of the cross is the Last Judgment ; Christ 
appears with his proper attributes, the Cross and the 
Sceptre. The Holy Dove is seen over his head ; angels 
play on musical instruments around him. On his right 
hand are the blessed spirits, on the left we see the Prince 
of Darkness, armed with a trident, and aided by his 
ministers, urging away the condemned. One of his 
agents, who is seen kicking the sinners before him, carries 
what appears to be a book. Above the dove appear to 
be two angels guarding a child (symbolising the regene- 
rate soul), and at the .top are two larger sized figures ; 
one carries a pastoral stajOT, the other has also a staff 
and a sword. Between the heads of these figures 
is a cross in a drele, ornamented with the serpen- 
tine decoration peculiar to the Irish-Sooto style. Other 
instances of this peculiar ornament abound on ancient 
bells, book-covers, memorial stones, &c., in Ireland ; the 
example (p. 113) is from a stone still preserved at 
Cossin. The cross 'is altogether twenty feet high, and is 
composed of three blcMsks only. The naked kneeling figure 









COURT OF CHRISTIAN ART IttONUMENTS. IIS 

between Satan and Ins ddef attendant, is supposed to be 
a '* Shekh-na-gig/' a class of female carved human figures 




Ornament from St. Orlond** Stone at Cossin, IrelanJ. 

pretty general in Ireland, found about Md churches, and 
which are so indelicate that no description of them can 
be given. 

There is no date assigned to this cross, but fin>m its 
style of exeoution and the central subject of the Last 
Judgment, we should suppose it to be subsequent to the probable 
tenth century. In the eleventh and twelfth centuries it ^t»* 
was a favorite subject on churches^ iScc., '' Because," 
says M. de Oamnont, '^ the ncmroecurxence of its advent 
in the tenth oentniy, which had been generally expected 
in Ghristandom, led to doubts of the entire creed ; to 
counteract which the priests chose it frequently as the 
subject of their sermons, and cauiMl its representation to 
be made on the most consptouous part of the church, <ba" 

The remaining cross is from Monasterboice, and upon 
it is found the following inscription in Irish, ^' A prayer eiS2|[ft^ 
for Murdooh, by whom Was made tihis cross." Br. Petrie M?^^^ 
ascribes it to the tenth century. The subjects represented p ' 
on it are supposed to allude to passages in the life of St. date. 



5- 
?f 

^ Boyne, to whom it is dedicated. 

The material of the Iriah crosses, stated in the Cata- 



logue of the Dublin Industrial EzhibrU)n to be a red ^^^^ 



^. 



114 THB BTZANTINB OOUBT. 

aOioeoTis sandstone, is, aooording to ^Mr. (VNeill, an 
error, sinoe he baa fonnd them executed in various 
materials, such as granite, greenstone (local name), white 
and red sandstone, spar, ^& 

Adjoining the Irish crosses stands the bronze column 

SS^ tnax (01»rist^»ss&ule) firom Hildeaheim Cathedral, North Ger- 

HUdeshttUn, many ; a fine monument of the year 1022, originally in 

^ ^^* the Church of St. Michael, at Hildesheim, and ornamented 

with twenty-eight subjects from the New Testament, after 

the manner of the Trajan or Aurelian columns at Rome. 

The capital, surmounted by a cross which originally 

completed its design, has long sinoe disappeared. 

.^ , At t&e base of ihe column are four figures pouring 

tures water— ^the symbol of the Holy Ghost, or of Truth-~out 

describad. ^f yases, the water entirely surrounding the base of the 

column. It is interesting to observe that a fictitious 

description of the birth and youthful history of Christ 

is here given, being the only instance of the kind with 

which we are acquainted. 

The meaning of the first figure appears to be a soiil 
emerging from the waters of eternal life. The next subject 
represents the baptism of the Child Christ, at which two 
holy personages as indicated by the nimbus, officiate ; the 
Holy Spirit in the form of a dove is seen descending on 
our Saviour. In the next two subjects he calls the first 
apostles. In the fifth, three disciples in a sort of boat, 
probably symbolical of the Church, appear to swear faith 
in Jesus, who holds a book in his hand ; or this may allude 
to the calling of James and John, who were with their 
father Zebedee mending nets in a ship (Mat. iv. 21). 
The sixth subject is the miracle of turning water into 
wine. 

7. Christ heals the sick. 

8. A sermon to his followers. 

9. He discourses with the Samaritan woman at the 
welL 

10. John reproving Herod the tetrarch, *'for all the 
evils he had done" (Luke iiL 19). 

11. John is put in prison : a very carious illustra- 
tion of that event : two men rising out of towers hold a 
rope which is tied round the waist of John, and let him 
down into a circular building ; one servant on the left 



COURT OF OHRISTTAN ART MONUMENTS. llf» 

appears to be falling over tlie wall^ doabtless as a judg* 
ment for Ids wicked complicity. 

12. Herodias, the daughter of Herod's wife, is seen 
dancuig to the sound of a pipe ; on the right John's 
head is brought to Herod (Mark vi 22, 28). 

13. Christ reproTes the Jews and pardons the woman 
taken in adultery. 

14. He gives sight to the blind. 

15. Jesus, hearing of the death of Lazarus, proceeds 
to Bethany. Martha, the sister of Lazarus, advances to 
meet him (John zi 20). 

16. He raises Lazarus from the grave. The head of 
Christ in this case is endrded with a radiating nunbus 
instead of the cruciform one. 

17. The Transfiguration. Moses and Elias appear to 
him, his disciples kneel beneath. 

18. Christ preaches. 

19. Dives, the rich man, is seated at his table, whilst 
Lazarus, the beggar, is seen crouching with the dogs. 
The head of L%;sarus is one of the best specimens of the 
sculptor's ability in the whole design. 

20. Christ blesses the children who are brought to 
him, and has a child on his knee. *^ Suffer little children 
to come unto me" (Mark z« 14). 

21. Zacchsdus, the rich publican, having climbed into 
a sycamore tree to see Christ, is addressed by the 
latter (Luke xix. 2, 8). 

22. Christ discourses to a group of seated figures. 

23. He meets Peter on the water. 

24. The miracle of the loaves and fishes. 

26. Christ blesses the women *' which ministered unto 
him of their substance" (Luke viiL 1, 3). 

In the next large group Mary Magdalen anoints the 
feet of Christ (Luke vil 38). 

And in the last, the Saviour is seen entering Jerusalem General 
on an ass. These are very favourable examples of the '®""'^^* 
state of art in the early part of the eleventh century. 
The base is pure Attic, the grouping good, and in the 
heads is seen a good deal of expression, that of Lazarus 
for example being by no means despicable. It is curious 
to observe how the early Church founded many of its 
customs on those of the ancient Bomaus. They had 



jr 



lie THB BYZANTIHB COU&T. 

their trinmphHl bccIim; tbey had ako, ire see, their 

triumphal oolmnxiB, in honour of their Lord and KviyQ, 
Tradition aBoribee the execatian of this cross to no 

less a hand, than that of the great Bishop Bemward 

himself. * 
A pillar from Opposite to the Hildeflheim Cdlnmn stands one of the 
Venioe. celebrated pillars of the lower story of the Ducal palace 

at Venice. The graceful' design of the foliage, exhibiting 

a HJngnlar freedom in its conventionality, cannot fail to 

attract the attention of the obfierrer. 
^'^ poijgon The Ducal palace, the old part of which dates from 
palace. the middle of the foiurteeiith oentmry (the period in which 

flourished its arqliitect, Calendaiio), is one of Uie latest 
Last restige of those monuments in which the Byzantine element still 
Byamtiae ^^ ^ giound, though almost hidden under details 
style. borrowed from the Gothic styles of northern Europe. 



■SABBOST kXn »TASt»rSt]l«BaS VHItSFaiABS. 



■ No. 7.— THE BYZASTINE CODKT. 

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namoit, 4s.' Cassia, Is. 2d.; Ground, is. 6d. Black Pepper, Best, is. aad is. 3d. White Pepperi 
Hi 4d. $- Best, 18. 8d. Cayenne, Best, 28. Ginger, 6d., lOd., Is., is. 4d., Is. 8d., and 2s.; Bes^ 
Si^4d«. .Miutaxd»5d.,.0d.,.7dM-rod.»and la. Best Mustard in Englaad,is.>4d.^(piM)iediii-ttiiiml>. 

SUGAR. . 

Ftff <he cw i ven i epce of their manerong cottomers, PHILLIPS ft' Ca. supply Raw Suoab ai4d., 
4^., and 5d. per lb. Rbfinzi) Suoak- at ad., O^d., and 6d. . , 



VXILLIPS 8t Co, sand all Oooda CABRIAGE FREE, by their own Vans, within eight »n'^ 
off BI6. 8v Si^ Wiaiam.«tiwet, Gity^ and send Tftaa, Ooflfaea, md Spices, CARRIAGE FlffiE TO 
ANY RA ILWAY STATION OR MARKET TOWN IN ENGLAND, if to the value of 40|. OT 
ttpwaidv. 

A Gtsianl Ptice Current is published every Month, containing all the adyantkg^s of tl^a LoxsoH 

MAaxavi, add is seat fitM by post on application to ^^^ 

PHILLIPS AND COMPANY, TEA MERCHANTS, 

8, KING WILLIAM, STREET, CITY, LONDON. 

Ill- ■ ■ — HM I I ■ I I I f l 

-aples of TEA and COFFEE are also open for inspection in Case Nb. ri, in tha SoaOiMA 

Gallery of the Crystal Palace. , 

Mt Offloe Oxdera ahould bMnade pafable to PHILLIPS & Co. Chief Offioa, Londoo* 



AT THE CRYSTAL PALACE, KYOENHAM, F IT. SOUTH OALLERV. 

MABIOII'S. 

BESaiENT BODICE AND C0B8ALETT0 DI MEDIC) 



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" It ■ffardl-iu plf Murv lo obifrre lll« goodly VFILJ of ourmed 
nonTiD foTDivDT tfaetlHtTa un<iil inrmlioD — k twftutiruUr Elan 
lothini on be mon deunble ud lomplme. -£itUirr i/Uic Miib 



or i/IAi Uidieol Cimtlor. 
Tb(T (wmbint riKMNESa wilh ELAMTICITV, fit doRlT, fuun wil/)n hvnt, nids tbe raipjiH 



\mtay of tbnr mliiuuMiil. ud ua •uitait for ainj •! 

"--• ---'— -' — ut ipuismiu, ind imtominl coi ....__ _ ._ 

m jndidoiulT ftdapl'-d to vnrj TftrymK codditkm of Uie rcmtlelgi 



coFTcctnv*. hftTS von for tbtm tho hif bill 

.-,^ — - ^ ^ - . .... - .., 7ftrymK codditkm of Uie rcmtle Ignn. Imih 

n br«Lth, eoD^tlKffikH, ud inTilfda, wtu thf m *itli equal HklHfution j imd fawiDH emparicncvd 
fee comfort hihI wlTuitaBa they enwro, viU not rvtum lo the ordinurf Ntni ud their ■Ltvndunt 
WAi. (jDder the open tnnmrw mrkodllkeluliG nnlinte, qsilied vik, bi< bmiHl, or eouil » 
>err«d, pratealuif cbillineu in the beck, ferourinf; free exluilftnian Inm tbe ekin, ud pnqDotu^ 
[cneral beelth' L*di«' pcrHnal BMHiunmeiitft loUiiind Ln ererr partjculv >■ rcqninq. 
tcK etl«bf«ied muiufKtnTee v* of wioue qmlitlee Kcordlng vitk pricea^ 14e-i !<[«., i\%.. aoi., 
Gd, i SUk indSuiii, iCa it. Co ^9 Ji. Alu. Ululdren'i Bodieu, udljnilitiht igmlidH (orlndi*. 
-..ilMged Protpeciui, sith Tinled Illuetmiuii. dcuili o( Piicet, lailrnoiou, and Fipen ftir 
If meuuttmoic. he., finu on >pii1ic»ion, or lent free on noclpl of two Scimpi t> r PcaUgt. 

ALL COUNTRY ORDERS SENT CARRIAGE PAID OR POST-FREE. 
LADIES' RESILIENT SUSTAINING BELTS oniim.o.eDtluticiilk.erlf-»diuiiiii|c,wilhoiit 
iFniDpi, ud iffordiDH u (gieieble and Durujing luipiirt in enytimpenlnte. ThoK Bda ue 
ihir piixd bj all Ladlei who haii adopted Ibtm. iIh; an ligbt, jct bra in lainre. will nib 
Lhout injur;, tnd are nr; disable, Al», ■ Jadicioue ueomunl of LADIES' BGLT9, coo- 



HESDAKES HARI0I7 & MAtTLANS, 
ITENTEES, M, CONNAUGHT TEKRACE, HYDE PARK, LONDON 



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