HISTORY OF ART 
 
 BY 
 
 ITS MONUMENTS, 
 
 FROM ITS DECLINE IN THE FOURTH CENTURY 
 
 TO ITS RESTORATION IN THE SIXTEENTH; 
 
 TRANSLATED FROM THE FRENCH OF 
 
 SEROUX D AGINCOURT: 
 
 IN THREE THOUSAND THREE HUNDRED AND THIRTY-FIVE SUBJECTS, 
 ON THREE HUNDRED AND TWENTY-EIGHT PLATES. 
 
 VOL. I. 
 
 ARCHITECTURE—SEVENTY-THREE 
 
 PLATES. 
 
 LONDON: 
 
 LONGMAN, BllOTYN, GREEN, AND LONGMANS. 
 
 MDCCCXLVII. 
 
TREATISE 
 
 ON 
 
 THE CIVIL, POLITICAL, AND LITERARY STATE 
 
 OF 
 
 GREECE 
 
 ITALY, 
 
 IN RELATION TO THE FINE ARTS. 
 
 GREECE—ITALY. 
 
 OF ART IN A STATE OF PERFECTION, AS IT PASSED TO THE ROMANS UPON THE CONQUEST OF GREECE. 
 
 The edifices raised in Athens by Pericles, the finest works of Phidias and of Polycletes, those of Zeuxis 
 and of Parrhasius, his contemporaries, had offered to Greece the most perfect models of art for architecture, 
 sculpture, and painting. Artist-philosophers, and philosophers enlightened amateurs of art, had, in classic 
 works, established principles and fixed rules for that which until then had appeared to be but the result of 
 happy imagination and of mechanical operations. Art, in fine, had become a science, of proud and sublime 
 style; as the Olympian Jupiter or the severe Pallas. Such it remained until the age of Alexander. 
 
 Greedy of glory of all kinds, jealous of leaving to posterity other monuments than those worthy of the 
 grandeur of his ideas and the delicacy of his taste, this prince gave a new impulse to genius by an exclusive 
 choice of the most distinguished artists, and by the generous recompense he was careful to award them. 
 
 Beauty became the principal objects of the studies of the Greeks, as the Venus under the chisel of Praxiteles, 
 Campaspe under the pencil of Apelles. 
 
 This style, the beautiful, had become general, nothing proceeded from the school of Greece unimpressed 
 by it, when the Romans, already masters of Sicily and of a portion of Asia Minor, penetrated into that country. 
 
 The Romans were aware of the renown acquired by the Greeks in philosophy and literature; they knew 
 the wisdom of this people and their laws, which they had long since adopted. The statues of bronze and 
 marble carried off from Etolia, Epirus, and Asia Minor, and the artists who had followed to Rome, had also 
 given them some idea of the productions of art ; but they had not yet been capable of contemplating, in the 
 bosom of these countries, in the midst of their flourishing cities, all which the genius, the taste, and the consum¬ 
 mate sensibility of the Greeks had produced and collected of excellence. 
 
HISTORICAL TREATISE. 
 
 What must have been the surprise of the Romans entering Corinth, Thebes, and Athens, at the sight of 
 the sumptuous edifices, at the porticos sustained by innumerable columns, as precious in form as in material ; 
 at the sight of the admirable statues, which filled the temples and the public places ; of the paintings of a 
 perfection so superior to their ideas ! But, at the same time, what must have been the terror and consternation 
 spread in the studios of those schools at the destruction of the statues of Epaminondas, Pindarus, and Pericles, 
 by tlie Roman soldiers, who trampled under foot pictures representing events of which they knew little, and 
 graces to which they were strangers ! Desolation is in the sanctuary of the muses, the lyre of Apollo assem¬ 
 bles them no more ; the choicest works, mutilated or dispersed, offer no longer models to the schools.* 
 
 Such was the fatal check which art received at the sack of Corinth ; at the fall of Athens this was more 
 disastrous still ; art never entirely recovered from these first profound wounds. 
 
 Nevertheless, the ruins of the monuments, of which they had ordered the destruction, arrested the 
 attention of the chiefs of the Roman soldiers. These men, born with the love of glory, and of a force of 
 character which rendered them capable of all which could satisfy this passion, must at least have possessed the 
 germ of sentiment for the beautiful. This developed itself : Metellus, Mummius.f guided by instinct rather than 
 taste, arrested the pillage and spared the most precious objects for transmissal to Rome ; where, having served 
 as an ornament to their triumph, the temples and public places of assembly were decorated with them. Thus 
 was Rome enriched and Greece despoiled. 
 
 ITALY. 
 
 OF THE ROMAN EMPIRE, AND OF THE STATE OF ART UNTIL ITS DECLINE IN THE FOURTH CENTURY. 
 
 A part of the last century of the Roman republic was a sterile period of art; the Romans knew not its practice, 
 and the humbled Greeks were constrained to neglect it. When Cæsar had established his empire, and Augustus, 
 giving peace to the universe, had closed the temple of Janus, that of the arts was seen to open. Talented 
 artists, pupils of the last great masters, had been called from Greece, where, without renown or encouragement, 
 they worked, as yet in silence ; others, brought in a state of slavery to Rome, had, like Rachael, carried their 
 gods under their mantle, the divinities of the arts. Emboldened by the growing taste of their masters, they 
 showed themselves. From that time luxury, which the ancient sumptuary laws no longer restrained, placed the 
 productions of art in the ranks of the enjoyments. But, as the Corinthian acanthus degenerates upon the banks 
 of the Tiber, so languished Greek art, which had been drawn captive by the Romans. Of these arts, Architec¬ 
 ture, although deprived of her noble simplicity, was destined to be the least unfortunate in Rome. More 
 analogous to the character of this dominating people, more consonant to its pride by the greatness of which 
 its material forms are susceptible, she was also, by the kind of laborious and difficult works which she exacts, 
 less foreign to the principles of their policy. The study of architecture was, therefore, permitted, and Rome 
 even was persuaded that she had enriched it by the invention of a new order, in the composition of which she 
 pretended to have allied Greek elegance with Roman magnificence. 
 
 Augustus loved and protected all the arts. They had followed his fortune and had ascended the throne 
 with him. Above all, architecture obtained the greatest favour : this prince and his ministers, who were 
 his friends, left Rome covered with superb edifices. 
 
 Claudius built there a magnificent aqueduct. 
 
 Nero demolished and re-constructed his palace, and enriched it even beyond measure. His immediate 
 successors, Galba, Otho, Yitellius passed by too rapidly to allow of any employment of the arts ; they were 
 not even worthy of loving them. 
 
 After them, Vespasian and Titus astonished Rome by the collossal masses of the amphitheatres and baths 
 which they raised, and they made it a duty to preserve the other monuments. 
 
 The column of Trajan, enriched with bas-reliefs, esteemed amongst the excellencies of sculpture, soon 
 after arose. 
 
 Adrian, himself an artist, gave great activity to art. Egyptian, Etruscan, and Greek, by turns, he ordered 
 monuments in the style of all the schools, and even of the different epochs of those schools ; a fancy which, 
 placing at once many different styles before the eyes of employers and employed, contributed, with the 
 
 * Polybius, cited by Strabo, relates that, during the sack of Corinth, the Roman soldiers played with dice upon the famous picture of Bacchus, 
 painted by Aristides. Strabo, L. viii. Oxford, vol. i., p. 552. 
 
 t Mummius, according to Velleius Paterculus, was, at the fall of Corinth, so ignorant of the fine arts, that he menaced those to whom he 
 had given the care of transporting the ancient monuments of Greek art into Italy, to oblige them to supply new, should they be lost 
 
 
 
HISTORICAL TREATISE 
 
 causes already indicated, to hinder the Romans from possessing a national school of art. This even altered 
 the models and principles of the ancient schools to a degree which causes me to attribute to this disorder 
 of a royal amateur the second check which art received since its removal from Greece to Rome. 
 
 Under the Antonini, successors of Adrian, the arts were sustained. Such is the influence upon the Fine 
 Arts, whether of the personal qualities of the sovereign, or of the general circumstances of his reign, that, almost 
 always, we can judge soundly of the one by the others. 
 
 Marcus Aurelius had for his instructor Diogenetes, a Greek philosopher, of whom might have been said— 
 
 “ Il n’est pas empereur, mais il enseigne à l’être.” 
 
 This philosopher was also a painter, and his pupil was no less favourable to the arts than to literature. 
 Sculpture has rendered a noble homage to Marcus Aurelius by the fine monument which still presents his 
 features to our eyes. 
 
 The rapidity with which, from the reign of Commodus, unworthy son of such a father, the emperors 
 succeeded each other, and yet more, the absolute want of qualities and capabilities in these princes, if we except 
 the two emperors Severus, was as hurtful to the arts as to the empire. 
 
 The capacity and military talents of such rulers as Aurelian and Probus suspended the ruin of the empire, 
 but their reigns were unfortunately too short. 
 
 In the reign of Diocletian the Roman architecture was much influenced by innovation and a mania for a 
 profusion of ornaments ; vices which equally influenced the state of sculpture. 
 
 The deplorable state of the arts, successively under the reigns of the successors of Marcus Aurelius, having 
 constantly augmented from the end of the third century, we find the decadence of all its branches make rapid 
 progress during the fourth century and consummated in the fifth, a decline which, coinciding with that of the 
 Roman empire, attaches to these centuries a doubly disastrous character. 
 
 OF THE GENERAL CIRCUMSTANCES WHICH INDUCED THE FIRST EPOCH OF THE DECLINE OF ART 
 IN THE FOURTH CENTURY. 
 
 Two men of distinguished merit, Montesquieu and Gibbon, have written upon the decline of the Roman 
 empire. The one, considering this great political phenomenon from a general point of view, has traced the 
 causes with profoundness and rapidity ; the other, attached constantly to the march of history, has developed 
 them with as much judgment as precision : both showing that the ruin of the Roman power drew with it 
 that of letters, which was to follow that of the fine arts in Italy. 
 
 The conceptions of the meditative genius of architecture, the learned creations of sculpture, the flowers of 
 imagination and sentiment of painting, sublime inventions, and of a more delicate temperament than those of 
 the sciences and literature, faded and perished in the hands of strangers of different nations, confounded with 
 the natives in the bosom of Rome and of Italy. It is, then, from a concurrence of circumstances in the fourth 
 century that we must, in great measure, seek the causes of the decline of the fine arts amongst the Romans, 
 instead of directly attributing this to the translation of the seat of empire, made by Constantine, to a 
 new capital. 
 
 GREECE. 
 
 TRANSLATION OF THE SEAT OF THE ROMAN EMPIRE TO CONSTANTINOPLE, TOWARDS THE YEAR CCCXXX. 
 STATE OF ART IN GREECE, FROM THIS TIME UNTIL THE DIVISION INTO AN EASTERN 
 AND WESTERN EMPIRE, IN THE YEAR CCCLXIV. 
 
 The liberty which Constantine accorded to Christianity, which was gradually replacing the Pagan religion, 
 produced a change in the state which the fine arts were destined also to feel. Without doubt the preference 
 given to a new religion over a worship which had for its object imaginary divinities, personified under the form 
 of beautiful statues, deprived the arts of some models, and of subjects calculated to forward its progress : but 
 this loss had no decided, nor sudden influence, as is commonly believed, because, in ceasing to render absurd 
 homage to these statues, great numbers were preserved as simple monuments.* Constantine gave also more 
 
 * Prudentius, who lived at the end of the fourth century, tells us— 
 
 “ Liceat statuas consistere puras, 
 Artificûm magnorum opera.” 
 
 Prudent, advers. Symmnch. L. i. v 
 
 r. 503. 
 
HISTORICAL TREATISE. 
 
 direct encouragement to all which related to the sciences and letters by opening those schools from 
 whence, shortly afterwards, the first fathers of Christian eloquence issued, Gregory, Basil, Chrysostom: 
 the arts of sculpture, painting, and architecture were greatly encouraged during the embellishment of 
 his new capital; yet, however worthy of praise such solicitude might be, the lavish profusion of marble, 
 bronze, colours and gold tended to divert the taste from the true principles of art, which the immediate 
 successors of Constantine made no exertions to uphold. 
 
 ITALY. 
 
 OF THE ROMAN EMPIRE IN THE WEST, UNTIL ITS DESTRUCTION BY THE GOTHS, TOWARDS THE END OF 
 THE FIFTH CENTURY. SECOND EPOCH OF THE DECLINE OF ART. 
 
 Valentinian L, who practised the arts, and knew, writes Ammianus Marcellinus, how to paint and model 
 with taste,* framed advantageous laws in favour of the Greek and Roman schools of literature. The same 
 motives which had determined Constantine to embellish his new capital led Theodosius to encourage the arts ; 
 by his orders Constantinople and, above all, Antioch were beautified by the erection of palaces, baths, and 
 other large edifices. The same causes as those enumerated above, joined to a general confusion and corruption, 
 was hurtful to the progress of the arts in Italy. The piety of Honorius prompted him to raise, and also 
 to repair, many churches at Rome, amongst these that of St. Paul outside the walls of the city is to be distin¬ 
 guished ; but the taste of these edifices was not likely to recall architecture to true principles. The popes also 
 constructed other churches, which were decorated by paintings in mosaic, the subjects of which were extracted 
 from the sacred writings. 
 
 Sculpture had scarcely for its objects other models than the statues of sovereigns and of some men of 
 letters ; the style of these last was no better than the writings which were recompensed by such an honour. 
 
 When the sad spectacle is considered of the Western Empire, delivered, during a disastrous period of sixty 
 years, to rulers sufficiently null as to abandon all management and defence to ministers and generals incapable, 
 or criminal ; when the Romans, formerly conquerors and masters of so many nations, are seen victims to the 
 audacity of barbarian chiefs, retained by themselves, unable to deliver themselves from their yoke by other 
 fancied means than humble prayer or shameful tribute ; when this people, formerly models to the nations of the 
 north and south, are seen to fall in a degree into the ignorance and ancient barbarity of the one, or the 
 enervated habits of the others, and to allow the sources of the good and the beautiful, of every kind, to become 
 dry, is not the end of such an empire clearly foreseen, and can we be astonished that, twenty years later, its 
 total destruction drew with it that of every liberal institution ? 
 
 It was thus that, towards the year 476, the Roman Empire of the West terminated. 
 
 CONSIDERATIONS FROM WHICH THE SECOND EPOCH OF THE DECLINE OF ART IN ITALY SHOULD NOT BE 
 ATTRIBUTED TO THE INFLUENCE OF A BARBAROUS PEOPLE, BECOME POSSESSORS 
 OF THAT COUNTRY. 
 
 It is at the period of the invasion of Italy by Odoacer, at the end of the fifth century and during the course 
 of the sixth, that historians, generally, have placed the second epoch of decadence of the arts, which is also 
 that of their entire destruction. They impute this to the Gothic tribes. Such an unjust prejudice, excusable 
 perhaps amongst the Italians, cannot be pardoned amongst other people. The nations which the Romans 
 called barbarous were those which either primitively inhabited the countries bordering upon Italy, or those 
 which had successively become the most remote borders of the north and east, by approximation all these 
 found the means of instruction—at first, in the efforts made by the Romans during four or five centuries to 
 stay, or subjugate them; then in the reiterated trials made by themselves, either to recover their liberty, or 
 to form settlements upon the ruins of the Roman rule. The causes of feebleness on the one side became those 
 of power upon the other ; all that the Romans lost, the barbarians, little by little, acquired. Instructed 
 even by defeat, how much the more so were they when, tributaries or allies of the Romans, they fought 
 under their discipline, of which they adopted the principles and formed among them a school ? 
 
 It is also easy to form an idea of their progress in civilization if it is remembered with what care the 
 Romans sought to attach conquered nations by the power of beneficence, by teaching the arts of agriculture and 
 
 * “ Scribens décoré venustè que pingens et fingens."— Ammian. Marcellin. L. 
 
HISTORICAL TREATISE. 
 
 commerce, and softening their manners ; by the foundation of military colonies, the erection of municipal towns, 
 the marriages of veterans ; and lastly, by the privileges accorded to Provincialists. 
 
 The ready civilization of these new subjects of the empire was likewise one of the happy fruits of the estab¬ 
 lishment of Christianism. The examination of the sacred writings, obliging them to deliver themselves to the 
 study of the Greek and Latin tongues, and to become familiar with the writings in these languages, imperish¬ 
 able depositaries of human and religious philosophy, conducted them to the cultivation of letters, and inspired 
 them with a taste for the arts. The churches which they visited, built in the first ages of Christianity upon 
 the model of the ancient basilicas, or formed from the temples of the pagan religion, recalled them to the prin¬ 
 ciples of ancient architecture. They found those of sculpture in the images of the saints offered for their 
 veneration ; and painting offered no less interest in the subjects with which she ornamented the churches and 
 oratories. Few cities were without a temple dedicated to Rome and to Augustus. Triumphal arches, amphi¬ 
 theatres, aqueducts, bridges, and military roads yet subsist in the Roman colonies. Statuary was held in 
 honour ; m Spam, France, and England fragments of mosaic work are extant ; the preservation of paint¬ 
 ings was much more difficult; the quantity of medals struck in the colonies prove that this branch of art 
 was cultivated in them. 
 
 Ihe picture we have just traced of the progress of the barbarous nations, of their civilization and advance 
 in literature and the arts, would be sufficient to show that it is from the fault of not distinguishing the epochs 
 of their history that they have been too generally charged with a complete ignorance and a monstrous 
 barbarity. The Gothic nations were from the end of the first century established near the Danube and Dacia ; 
 until the commencement of the third, instead of attacking the Romans continually and in a direct manner! 
 they were contented with annoying them from time to time, in order to enrich themselves ; they had been, 
 until then, principally occupied in forming their establishments on the frontiers of the empire, at the expense 
 of the barbarous tribes who had preceded them, they had often united with the Romans themselves. But 
 from the time of Alexander Severus the Goths were less tranquil; a second emigration of their ancient fellow- 
 countrymen, starting from the shores of the Baltic, joined them, conducted by Amale, an ancestor of the great 
 Theodonc. Maximinus, the successor of Severus, himself descended from Goths, restrained them by the 
 power of natural ties and by his victories, but under the reign of Philip, who had deprived them of their 
 ancient subsidies, this discontented people, feeling their power increase, assembled in innumerable bodies, passed 
 the Danube, ravaged Mœsia, Thrace, and Macedonia ; during these violent irruptions the two Decii lost their 
 lives, and the Goths were scarcely effectually opposed by Claudius II. and Aurelian; the latter emperor obliged 
 them to furnish a body of cavalry in abandoning a part of Dacia to them, initiated them into the arts” of 
 agriculture, the mechanical arts, and communicated the Latin language to them ; the Gothic nations thus 
 enjoyed and profited by the same advantages for their amelioration, which had for a long time served to 
 bring the useful and elegant arts to a certain perfection in the neighbouring states of the empire. 
 Towards the end of the fourth century, while in a most flourishing state under the laws of Hermanric, 
 they were assailed by the Huns, who, becoming to them what they had formerly been to the Romans, rendered 
 themselves masters of their country and there established themselves. 
 
 It was then that, chased from their territory by this redoutable enemy, the Gothic nations, forgetful of the 
 ancient conventions of peace, threw themselves upon the Roman Empire like a torrent. 
 
 The proofs of a progressive communication, from which instruction gradually resulted, is to be perceived 
 in the exploits which signalized the Visigoths under the direction of Alaric, and shortly afterwards, of the Huns, 
 under Attila. The cruelty which these fierce heroes seldom laid aside, in provoking the indignation of his¬ 
 torians, has not been able to shut out their talents and virtues from their eyes. They were both, especially 
 Attila, of great quickness of intellect and of a profound poUcy, a bitter fruit for the empire, of the education 
 which they had personally received, and of the means of civilization which their people had enjoyed. 
 
 REIGN OF THE GOTHIC KINGS IN ITALY. STATE OF THE ARTS UNDER THEIR GOVERNMENT, 
 
 IN THE FIFTH AND SIXTH CENTURIES. 
 
 The first of these kings, Odoacer, chief of a Gothic tribe, had come to seek at the court of the emperors those 
 advantages which strangers had for so long found. His stay in Italy perfected his natural talents and prepared 
 the means whereby he arrived at his high fortune, which he justified by much moderation. Of this he gave a 
 first proof and an example, until then rare, of depriving Augustulus but of his empire only and sparing his life. 
 Become king of Italy, he there exercised the sovereign power, without ever wearing its distinctive marks, or 
 adorning himself with the Roman purple, and, not to offend the eyes of his new subjects, he even quitted 
 
HISTORICAL TREATISE. 
 
 the diadem of 
 
 the barbarian kings ; be, in a word, ceased to be barbarian, without forcing the Romans, had 
 
 they been still worthy of the name, to cease to be Roman. 
 
 Conqueror of Odoacer and his successor 
 
 to the throne, Theodoric, by the wisdom, bravery, and decided 
 
 ouperiority which he had shown over all the neighbouring nations, procured the peaceable enjoyment of the 
 throne durum thirty-two years of a reign glorious abroad and at home. 
 
 In adopting the costume, tastes, and habits, of the Romans, and in causing them to be observed by Ins 
 Gothic subjects, he excepted, from this imitation of Roman customs, a spectacle which, by its cruelty, 
 appeared to equal the ancient barbarity of his own nation. For the combats of the gladiators he substituted 
 a representation of warlike engagements, military games, perhaps the first types of those Passages of Arms, 
 of those Tournaments, which afterwards became so frequent and celebrated in Italy and the rest of Europe. 
 His ministers were chosen from amongst men the most distinguished in Rome by birth and knowledge. The 
 letters and rules which Cassiodorus, his secretary, issued in his name, prove his appreciation, if not always prac¬ 
 tised of the finest qualities of knowledge, philosophy, and virtue. Educated from a tender age, at Constantinople, 
 Theodoric, during a residence of ten years in that capital, in the midst of sumptuous edifices and monu¬ 
 ments of all kind, imbibed a lively taste for the magnificence of the productions of art. His admiration 
 was not sterile; during the whole of his reign he watched with solicitude over the preservation and 
 embellishment of Rome, as well as of Ravenna, his habitual abode ; he wished that all his works should be 
 constructed after the models of ancient art, as he was persuaded that it was by the style of a monument, or 
 palace, that its possessor, or erector, was judged. 
 
 Tutelary genius of the empire of the Goths, Cassidorus, through gratitude for the benefits conferred by 
 Theodoric, did not feel it his duty to abandon the reins of government at the death of that prince. He seconded 
 the care which Amalasunte, daughter of Theodoric reigning during the minority of her son Athalanc, gave 
 to the state administration. This princess, niece of Clovis, had received the most careful instruction among 
 the Goths. The Greek and Latin languages and knowledge of literature were familiar to Amalasunte, and 
 she loved those who cultivated them. She wished to direct the instruction of her son, but the principal chiefs 
 of the Goths, fearing that the study of science, carried too far, might cause a neglect of military art, constrained 
 her to abandon her intention; removed from the vigilant eye of his mother and the wise counsel of Cassiodorus, 
 Athalaric insensibly acquired the disorderly manners of the young Gothic nobility, imbibed their vices without 
 their warlike qualities, and died at the age of sixteen years. Theodatus, Vitiges, and the few Goths who 
 followed them, long resisted the forces of Justinian, anxious to recover possession of Rome, but a consi¬ 
 derable army of Greeks under Narses, joined to the barbarians jealous of the Goths, ultimately destroyed their 
 empire in Italy in the year 552. 
 
 BEIGN OF THE LOMBAED KINGS IN ITALY. STATE OF THE AETS, UNDER THE GOVERNMENT OF 
 THE LOMBAEDS, IN THE SIXTH AND SEVENTH CENTURIES, UNTIL ITS 
 DESTRUCTION TOWARDS THE END OF THE EIGHTH. 
 
 At the death of Narses, destroyed by Justinian II., the Lombards, who had formed a part of the foreign troops 
 in the pay of the Greek emperors, formed the resolution, under their king, Alboin, of establishing themselves in 
 Italy. 
 
 In the spring of the year 568, this prince, at the head of the whole nation, to which he joined Saxons, Gepides, 
 Bulgarians, and other similar nations, spread, like a devastating torrent, over the Venetian territory, Liguria, 
 and that which has been since called Lombardy ; soon masters of Æmylia and Tuscany, the Lombards, with 
 the exception of Ravenna and of Rome, which remained to the emperor, became possessors of nearly all Italy, 
 where Alboin raised a throne upon which more than twenty kings were seated without effacing the glory of 
 his exploits or the singularity of his adventures. 
 
 From the reign of Antharis, become Christian through the instance of his wife Theodelinda, daughter of the 
 Duke of Bavaria, architecture was employed in the construction of churches and palaces, which sculpture 
 and painting at the same time ornamented. At the death of Antharis, Theodelinda treated those monuments with 
 particular care. 
 
 One of the wisest of this race of kings, Luitprand, occupied himself with the civil amelioration of his sub¬ 
 jects. Towards the year 724, he commenced a new arrangement of the Lombard code ; religion and her 
 soft influence entered into the happy measures, by the aid of which he succeeded in depriving his people of the 
 remnant of their ancient barbarity : dating from the reign of this great and good prince, the Lombard nation 
 takes a place amongst the most polite of the period. 
 
HISTORICAL TREATISE. 
 
 The policy of Pope Aclian I., which instigated Charlemagne to undertake the conquest of Italy against 
 Didier, duke of Tuscany, in possession of the Lombard throne, destroyed, in 774, the reign of the Lombards in 
 Italy, after it had endured 206 years. 
 
 Architecture was the art of which the Lombards made the greatest use ; fortifications, citadels, palaces, 
 baths, temples, and monasteries arose, not only at Pavia, the seat of empire, but also at Turin, Milan, Spoleto, 
 and Benevento. The queen, Theodelinda, signalised her zeal by founding at Monza, near Milan, her favourite 
 residence, monastic establishments which she enriched with various offerings.* 
 
 Sculpture was employed without bounds in the decoration of various parts of these edifices, with prodigality 
 of ornament, but ignorance in choice of subject, and inept in execution. 
 
 Painting was employed in ornamenting churches and other places ; at the invitation of Pope Gregory II., 
 Luitprand, to hinder the errors of the iconoclasts from propagating in Italy, undertook the care of embellishing 
 the churches of Ravenna, and elsewhere, with paintings and mosaics, representing sacred subjects. 
 
 OF THE POPES FROM THE FOURTH CENTURY, AND OF THEIR INFLUENCE UPON THE FINE ARTS. 
 
 During the three first centuries of Christianity the churches, troubled by the persecutions of sovereigns and 
 people, obstinate adorers of the divinities of paganism, could only deliver themselves to the exercise of the new 
 religion in secret places. 
 
 The victory and successes which Constantine obtained, and which he believed were owing to the protection 
 of the true God, determined him to favour whatever might advance the worship, and above all, augment the 
 splendour of his capitals, the seats of the religion which he had embraced. 
 
 Architecture was by his orders employed in constructing churches in Rome, which, by their grandeur and 
 magnificence, are yet amongst the most considerable there. Those of St. Peter, St. Paul, St. Agnes, 
 St. Laurence, are mentioned among others by the writers on ecclesiastical history. It is principally to 
 Anastasius the bibliographer, author of the “ Liber Pontificalis,” which contains the lives of the popes until 
 the middle of the fourteenth century, that we owe the notices of these constructions. 
 
 It is also this writer who has transmitted the curious details of works of sculpture, graving and inlaid work 
 executed upon vases, furniture, and sacred utensils of all kinds for the use of churches. The quantity of these 
 which, during the pontificate of Silvester alone, were presented by himself, or by Constantine, was prodigious, 
 and, it may be believed, surpassed the presents with which Solomon enriched the temple of Jerusalem. 
 
 Of all the kinds of painting with which these temples were ornamented, the mosaic decorations alone have 
 partly descended to us. 
 
 From the translation of the seat of empire to Constantinople, in the fourth century, until the invasion of 
 the Goths at the end of the fifth, the successors of Silvester obtained no further advantages from those of 
 Constantine than they had received at the dawn of the faith of that prince. Ilis son, Constantius II., favoured 
 the Arians : Pope Liberus was exiled by his order. The election of Damasius was troubled by schism. Under 
 the papacy of Innocent I., Alaric took Rome. Celestinus I., Sixtus III., and his successors were ceaselessly 
 occupied in endeavouring to prevent schism in Italy or in the East. 
 
 Leo L, less happy with Genseric than he had been with Attila, could only obtain from the king of the 
 Vandals the lives of the Romans. The Popes Hilarius and Simplicius witnessed the gradual fall of the Western 
 Empire. Under the Goths and Lombards, until the destruction of their empire by Charlemagne, the civil or 
 temporal power of the popes is difficult to trace ; their election, submitted at the same time to the Greek 
 emperors and to the barbarian monarchs, became embarrassing and uncertain, and when confirmed, their 
 position became very difficult. They still gradually obtained advantages, first due to the respect which their 
 virtues inspired, and next to an officious care during critical moments for nations and for sovereigns ; by their 
 wisdom and liberality they warded off many formidable attacks with which Rome was menaced. 
 
 CONTINUATION OF THE SAME SUBJECT, UNTIL THE DONATION OF CHARLEMAGNE. 
 
 What could have been the ancient sources of the church and the new means of this munificence of the popes ? 
 
 Among the first families which the preaching of the apostles and their disciples converted to the faith of 
 Christ, many were distinguished by their rank or riches. The senator, father of Praxedis and Pudentiana, was 
 
 * The following works may be consulted on this subject:—Ant. F. Frisi, Mem. e Dissert, sulla chiesa Monzeze, 4to, Milano, 1774. Ant. 
 F. Gori, Thes. vet. dypticorum, v. 2, p. 204. Paciaudi, De cultu, S. Johan. Bapt. dissert, vi., p. 266. Also, Paul Diacre, Wamefrid of 
 Aquilea, who was engaged by Aldeberge, daughter of Didier, to write a history of the Lombards. 
 
HISTORICAL TREATISE. 
 
 one of the earliest benefactors of the new church ; a temple, which still exists, arose upon the foundations of his 
 palace. St. Lucina, whose houses also became churches, was condemned to punishment by Maxentius for 
 having bestowed all her goods upon the church. Another Roman lady left, by will, her jewels and considerable 
 sums to build churches, with necessary utensils for the service. These riches were kept in a casket, of which 
 the guardian was called Arcarius ecclesice. From the commencement of the third century they were found 
 sufficient, in the time of Urban I., to allow the execution in silver of chalices and other sacred vases, which, 
 twenty-five years before, under Pope Zephirinus, were only of glass, patenæ vitreœ.* 
 
 When Constantine mounted upon the imperial throne and there seated the Christian religion, he consecrated 
 territorial revenues to the construction of its temples and the support of the ministers of its creed. 
 
 Symmachus, in the year 504, assembled a council at Rome against the detainers of the goods belonging to 
 the church. 
 
 In the year 640, the exarchus of Ravenna, Isaac, came armed to carry off the treasure kept in the episcopal 
 palace of St. John Lateran. 
 
 These revenues had so augmented towards the end of the eighth century, that John V. was anxious 
 respecting the patrimonial estates of the church, situated beyond Italy, in Sicily and Calabria ; and they were 
 considerable—“ non parva,” writes Anastasius. 
 
 The great changes which the political system of Italy underwent during the eighth century procured 
 temporal advantages and immense revenues for the popes. These events, favourable to ecclesiastical power, 
 were produced, on one side by the prudence of the Roman pontiffs, and on the other by the uncertain or 
 perfidious conduct of the Greek court with regard to Italy. 
 
 Instead of defending the popes against the Lombards, the emperors themselves troubled the elections and 
 the government, and many times attacked the dogmas and discipline of the Roman church. By thus shocking 
 the religious opinions of the Italians, they shook the fidelity of this portion of the ancient subjects of the empire, 
 and augmented the civil and political influence which the popes were already acquiring over them. 
 
 The public adhesion of Leo I., the Isaurian, to the opinions of the iconoclasts, succeeded in alienating 
 all minds. 
 
 His son, Constantine IV., called Copronymos, deprived of the confidence of the people of Italy, saw 
 Ravenna and the neighbouring territory seized by the Lombards ; and from that time the popes sought their 
 allies far removed from Italy and the Greek princes. 
 
 Thus, whilst in the East the ancient splendour of the empire was becoming covered by a thick obscurity, 
 Charlemagne consolidated the temporal power of the Roman pontiffs, and furnished them with the means 
 of taking and sustaining the rank of sovereigns, which has since been their portion in Italy. 
 
 NOTICE OF WORKS ORDERED BY THE POPES UNTIL THE END OF THE NINTH CENTURY. 
 
 Adrian I., in providing for the facility of communication and the safety of Rome, opened immense works 
 advantageous to the study of architecture, which the Popes Leo III. and IV. encouraged. During the seventh 
 and eighth centuries the pontiffs, imitating their predecessors, ornamented the churches with paintings and 
 mosaics. Painting and embroidery is frequently mentioned in the descriptions of the presents made by the popes 
 to different churches, either for robes, ornaments for altars, or curtains for doors. This embroidery, executed in 
 thread of gold or silver, upon stuffs of silk, of the most beautiful colours, was calculated to afford extreme 
 splendour ; the sacred subjects which these rich tissues represented pleased the eye and afforded interesting 
 pictures. 
 
 This religious luxury, respectable by its motive, merits likewise the gratitude of art. It was, in some sort, 
 these offerings which, customary in different creeds, after having originally given rise to the invention of art, 
 contributed in time to carry it to its perfection : it is by means of them again that, at the emergence from the 
 decline into which art had fallen, she was furnished with the means of revival. 
 
 * Such are the chalices of glass, engraved upon plate xii., vol. iii., of that division of the work devoted to Painting, Nos. 28, 29, and 30. 
 
HISTORICAL TREATISE. 
 
 GREECE. 
 
 OF THE EASTERN EMPIRE, SINCE ITS SEPARATION FROM THE WEST IN THE FOURTH CENTURY, UNTIL 
 THE END OF THE EIGHTH. STATE OF THE ARTS IN GREECE AND IN THE COUNTRIES OF 
 THE EAST, DURING THIS PERIOD OF TIME. 
 
 In Greece the arts, without being on a level with literature, had not ceased to be cultivated. History frequently 
 speaks of a palace which, under the reign of Arcadius, Lausus, his grand-chamberlain, constructed at Constanti¬ 
 nople with extraordinary splendour, and in which we are pleased to think that the most perfect statues of the 
 ancient Greek school were assembled. 
 
 It is more difficult to ascertain the state of painting at this period. We merely see that, according to custom, 
 the images, or portraits, of the emperor were transmitted to the provinces, and that those of Eudoxia, when she 
 took the title of Augusta, were similarly honoured, a homage which no empress had yet received. 
 
 The advent of Theodosius II. to the empire appeared another favourable augury for literature and the arts. 
 Pulcheria, his sister, with the greatest qualities, had the same tastes : she wrote and spoke the Greek and Latin 
 languages perfectly. The beautiful Athena'is, his wife, daughter of a celebrated sophist of Athens, united to 
 beauty all the advantages which a careful education could bestow. She composed the discourses she had to 
 pronounce, and left translations and poems praised long after her death. Theodosius established an university 
 at Constantinople in 425. It was composed of several professorships, grammar, for the Greek and Latin 
 tongues, rhetoric, philosophy, and jurisprudence. The Empress Eudoxia retiring to Palestine at the death of 
 her husband, executed large works for the embellishment of Jerusalem, and other holy places, and an infinity of 
 monasteries. 
 
 Military architecture, according to Procopius, also made rapid progress under the reign of Justinian ; from 
 the east to the west the frontier of the empire was covered with fortresses, and the towns were surrounded by 
 ramparts. Military and commercial roads were made, rivers were restrained by dykes, and the communication 
 between their banks facilitated by bridges : the number of these works, erected under this emperor, is incredible. 
 Unfortunately for the history of art, of all these monuments erected by Justinian, the celebrated temple of St. 
 Sophia, rebuilt by him at Constantinople, is almost the only one which, by its entire preservation, can give us 
 an idea of the state of the arts of building and decoration of this period. It is represented in plates xxvi. and 
 xxviii. of the section of this work devoted to Architecture. 
 
 Procopius does not inform us whether, in painting, fresco was employed ; but he positively tells us that 
 instead of painting in encaustic, brilliant mosaic, in coloured stones, representing the conquests of the armies of 
 the empire, covered the walls and vaults of one of the principal imperial palaces, as in the churches. 
 
 The artists still had excellent models before them, the monuments of the finest age of ancient architecture ; 
 the sculptor was surrounded by the most perfect statues ; but the continual attacks from without, the internal 
 disorder, the wars of religion, and effeminate oriental luxury, corrupted manners, changed the course of their 
 ideas, and removed them from all liberal occupation. 
 
 CONTINUATION OF THE SAME SUBJECT, UNTIL THE NINTH CENTURY. 
 
 The imperial sceptre, in passing to Justinian II., did not preserve the splendour with which his predecessor 
 had surrounded it. Without virtues or character, this prince saw Italy seized by the Lombards, and was forced 
 into a dishonourable peace by the Persians. The talents and virtues of his successors, Tiberius II. and Maurice, 
 would have re-established the power and heightened the glory of the empire, if foreign wars and popular risings 
 had not continually troubled them. 
 
 It is from the narrative of these reigns that history begins to notice the strange superstitions which 
 followed the theological discussions so greatly multiplied. Statues of Christ were instanced as uttering speech ; 
 Ave-Maria was given as a watch-word to the soldiery ; the mutinous soldiers who threw down the statues of the 
 emperor and trampled his portraits under foot, replaced them with images of the saints, believing thus to obtain 
 pardon for their revolt. 
 
 Phocas, who thought to maintain himself by terror upon a throne which he had acquired through perfidy, 
 was decapitated by Heraclius, governor of Africa, in 610. The reign of this prince, which presented a strange 
 alternation of indolence and activity, was principally remarkable by the appearance of the ferocious followers of 
 Mahomet. 
 
HISTORICAL TREATISE. 
 
 This famous impostor, possessed of qualities so superior to those of his nation or his times, knew how to in¬ 
 spire the ambitious fanaticism destined to change the face of Asia, and succeeded in substituting a new religion 
 for those hitherto dominant. This monstrous mixture of the illusion of paganism with the truths of Christianity 
 proscribed the exercise of the arts, architecture alone excepted, and esteemed it a duty everywhere to destroy 
 its productions. 
 
 From the death of Heraclius to the period of Leo III., the Isaurian, that is, from the year 041 to 717, the 
 eleven princes who mounted the imperial throne offer us a sad spectacle of public or private crimes. 
 
 The invention, or rather the employment, of the terrible combustible matter known under the name of Greek 
 fire, is attributed to the reign of Constantine Pogonates, about 672. 
 
 In the midst of so much public calamity the cultivation of letters could but be neglected. The burning of 
 the library of Alexandria, of which Omar has been accused, has been placed under the reign of Constantius II. 
 This prince, in the year 663, ordered the sacred vessels to be carried away from the churches, the ornaments 
 from the public places, even the tables of bronze from the Pantheon, at Rome, and caused them, to his eternal 
 reproach, to be transported to Sicily, where these inestimable treasures became the prey of the Saracens. It 
 was also about this time, it is thought, that the caliphs destroyed the famous colossus at Rhodes. 
 
 All, in fact, during this century appeared to he united to precipitate the fall of the arts of design. 
 
 To the obstacles which the religion of Mahomet opposed to their exercise, amongst the nations subject to 
 the Arabs, was joined the persecution which Leo the Isaurian, guided somewhat by the same instinct, raised 
 throughout the empire against the admiration of pictures. Having proscribed the external homage rendered 
 to the representations of Divinity, he caused a figure of Christ, in bronze, placed by Constantine upon a cross 
 at the door of the imperial palace, to be removed, and the walls of the churches, covered with sacred paintings, 
 to be whitewashed : accustomed to contemplate and venerate these pictures, the women rose in the capital ; 
 great numbers were massacred. Having unsuccessfully tried to turn the body of savans, which Valens had 
 constituted for public teaching, to his opinion, he burned them together with the library and church of which 
 they were the guardians. 
 
 These horrible excesses were even surpassed by his son Constantine IV., Copronymos ; the reigns of 
 Leo IV., and of the Empress Irene, offer a sad spectacle of crime, for which the ascendance of Charlemagne, in 
 the West, offers some consolation. 
 
 ITALY. 
 
 CONQUEST OF ITALY AND RE-ESTARLISHMENT OF TIIE WESTERN EMPIRE BY CHARLEMAGNE, AT THE 
 
 COMMENCEMENT OF THE NINTH CENTURY—THE PROTECTION WHICH HE ACCORDED TO LITERATURE 
 
 AND ART_HIS DESCENDANTS, HIS SUCCESSORS TO THE KINGDOM OF ITALY, UNTIL THE 
 
 END OF THE NINTH CENTURY. 
 
 At the moment when Charlemagne became sole possessor of the throne of France, a happy choice placed 
 Adrian I. upon the pontifical chair. A nobility of soul, elevated mind, and a constant and active zeal rendered 
 this pontiff worthy of seconding Charlemagne, and to co-operate with him for the restoration of religion, the 
 advantage of the pontificate, and his own personal glory. 
 
 Having rendered himself master of Pavia, in 774, Charles regarded, amongst the most precious part of his 
 conquest, two distinguished men, one, the historian Paul Diacre, secretary to the Lombard kings—the other, 
 Peter of Pisa, a learned literary character ; he carried them into France, where the last named of these taught 
 him the first principles of grammar. In 776, he placed Paulinus upon the patriarchal seat of Aquilea, and 
 Theodulphus in the bishopric of Orleans and the abbey of Fleury, for having contributed to spread the taste 
 for study and instruction in France. 
 
 Prepared by the conversation and instruction of these masters, Charles found himself in a position to profit 
 by the lessons of the celebrated Alcuin upon the higher branches of knowledge : he learned from him not only 
 rhetoric, dialectics, and arithmetic, but astronomy, to the study of which he especially applied himself. This 
 learned English monk, sent to Italy by the Archbishop of York, had there met Charles, who, having by his 
 beneficence drawn him to France, there placed him, with Peter of Pisa, at the head of the schools, of which the 
 first was established in the palace of the emperor. 
 
 The impression which Charles had received from the contemplation of works of art during his numerous 
 visits to Italy was such, that he occupied himself in founding new towns and repairing the ancient cities of his 
 
HISTORICAL TREATISE. 
 
 xiii 
 
 vast empire: he constructed fortresses, roads, bridges, palaces, and magnificent churches, amongst which 
 that which has given to the town of Aix, in Germany, the name of Aix-la-Chapelle. Charlemagne also 
 showed his gratitude to Italy in giving orders for the re-establishment of many cities which had suffered from 
 the ravages of war. Genoa, Verona, Florence, were embellished by many edifices ; some are yet seen in Rome 
 constructed by him.* 
 
 The works of sculpture, of the period of Charlemagne, can scarcely be traced. Two bas-reliefs are cited, one 
 in the Church of St. Remi, at Rheims, upon a tomb, presumed to be that of Carloman, king of Austrasia, his 
 brother; the other at Aix-la-Chapelle, upon the sepulchral urn of Charlemagne himself. But the profane 
 subjects of these bas-reliefs prove them only gross copies made from urns of better style, copies which were at all 
 times objects of commerce in Italy. Vessels of gold or silver sculptured, or chiselled, are spoken of by writers 
 as amongst the presents of this prince to the Church of St. Peter at his coronation. 
 
 With respect to painting, the productions of this art, and of the mosaics, with which the churches of Rome 
 were filled, attracted the attention of Charlemagne. He imbibed also a taste for books enriched with miniatures. 
 Among these the Bible which he presented to the Abbey of St. Paul outside the walls at Rome, is distinguished. 
 The principal ornaments and miniatures are engraved in this work.f 
 
 Pepin, his son, during a reign of nearly thirty years, maintained the glory of his empire. The Basilica of 
 St. Zeno, and a curious sarcophagus, at Verona are attributed to this prince. 
 
 During the reigns of Louis-le-Debonnaire, Lothaire, and Louis II., the arts were stationary ; but the Saracens 
 were successfully invading the eastern frontier of Europe, and dissensions between the people and the popes 
 Eugenius II. and Gregory IV. broke out. 
 
 STATE OF THIS COUNTRY UNDER DIFFERENT PRINCES, FROM THE LAST YEARS OF THE NINTH CENTURY, 
 TO THE END OF THE TENTH. 
 
 The crown of Lewis became, at his death in 875, for more than a century the object of the successive 
 pretensions of ten or eleven princes,—some seizing it by claim as issue from the blood of Charlemagne ; others, 
 by means of the power which vast dominion gave them ; none, however, occupied it peaceably. Of these princes 
 Otlio I. was much occupied in Italy, either in maintaining the public order, which was disturbed by the miscon¬ 
 duct of the Pope John XII., and the violence practised by the Romans against Leo VIII. ; or in military 
 expeditions in Calabria and Apulia against the troops of the Greek emperors. 
 
 Otho III., born in 980, king of Italy at three years of age, and crowned emperor at sixteen, had to combat 
 Sclavonians in Germany and Saracens in Italy. He chastised the revolted Romans, and replaced Gregory V. 
 upon the pontifical seat, who had been driven away by Crescentius. The monastery and church of Soubiaco, 
 near Rome, are supposed to have been erected by order of this prince. 
 
 TROUBLES IN THE ELECTIONS OF POPES, AND IN THE PONTIFICAL GOVERNMENT, DURING THE NINTH AND 
 TENTH CENTURIES. STATE OF THE ARTS DURING THIS PERIOD. 
 
 Although the temporal power of the popes received from the successors of Charlemagne in the Western 
 Empire a constant aid and the means of aggrandisement, the people and chief families of Rome returned, from 
 time to time, to their ancient ideas of liberty, and tried to establish their independence under the municipal 
 forms which varied according to circumstances. Two parties thus existed in Rome, which called to their aid, 
 sometimes popes, sometimes emperors, who, according to the exigencies of the moment, allowed them an 
 absolute power, or reduced them, the pontiffs, to the authority of spiritual chiefs of the church, the sovereigns 
 to the simple office of protectors. 
 
 From the time of Leo III., the time of Charlemagne, to that of Gregory V., in the midst of the troubles 
 which ceaselessly agitated Rome, science, letters, and the arts could not flourish. The light with which 
 the great Charles had surrounded them in the latter time was extinguished, and, as the lightning which 
 darts through obscurity, was followed by a thicker dax-kness during the succeeding age. 
 
 Architecture, during the above period, was scarcely employed but for the construction of fortresses, with 
 which the popes, at that time besieged by the Saracens, were principally occupied. They, however, built a few 
 monasteries. 
 
 See plate xxv. of Architecture. 
 
 f See plates from xl. to xlv. of Painting. 
 
HISTORICAL TREATISE. 
 
 As to the productions of sculpture, these can only be judged of by the ornaments and utensils ordered by 
 the pontiffs for the use of churches : they were neither of better taste nor execution than those mentioned in 
 speaking of former times. 
 
 GREECE. 
 
 OF THE EASTERN EMPIRE, AND THE STATE OF THE ARTS IN THAT COUNTRY, FROM THE RE-ESTABLISH¬ 
 MENT OF THE WESTERN EMPIRE UNTIL THE NINTH CENTURY. 
 
 While the new empire was being established in the West by the victories and qualities of Charlemagne, the 
 Eastern Empire, from the reign of the Empress Irene to that of Theodora in 842, was a scene of disaster and 
 excess. This last princess, who owed the throne to her beauty, joined the qualities of a cultivated mind to 
 all the virtues. She put an end to the persecution by the iconoclasts, and had her power continued ; letters 
 and the arts would doubtless have received great advantages, but she was removed from a government she 
 had wielded for fifteen years by Michael III., the Nero of the Eastern Empire, whose excesses she vainly strove 
 to restrain. 
 
 In the reign of Basil the arts revived. This prince, persuaded that, for his personal glory and the good of 
 his states, he should employ and encourage the arts, constructed and restored an infinite number of edifices 
 of public utility or luxury, which gave an opportunity of exercise to architecture. 
 
 Painting was liberally employed, many churches were ornamented with mosaics, and the palaces of the 
 emperor decorated with pictures representing his military exploits ; in one of them he wished to be repre¬ 
 sented, with his family, thanking heaven for having loaded him with glory and happiness. Science and 
 literature also fixed his attention. 
 
 Thus in the ninth century the care of Charlemagne in the West, and even in a part of the tenth, that of 
 Bazil in the East, contributed to raise the study of letters, and of the arts, their inseparable companions. 
 
 From the end of the ninth, and during the tenth, Leo VI. and his son Constantine Porphyrogenetes 
 honoured and partook of the labours of literary and scientific men. Constantine, who reigned from 912 
 to 959, carried this love of letters and science to a greater extent than his father ; he himself practised the 
 arts with much success, and favoured the study by honourable encouragement. But amongst the princes 
 who reigned from his death, from the middle of the tenth to the end of the eleventh century, very few 
 are distinguished as giving a particular attention to science; too feeble to support the weight and the defence 
 of administration, they became devastated by barbarous nations, whom they only succeeded in removing by 
 means of shameful tribute. 
 
 The Arabs, before the revolution worked by Mahomet, and during the century which followed, had shown 
 themselves indifferent to the arts and sciences, if the poetry natural to all nations, and more especially to the 
 Orientals, be excepted : but from the year 750, under the reign of the caliphs Abbasides, successors of the 
 Prophet, they commenced the search of all which cultivate the mind and spread enlightenment. 
 
 The study of the Greek language initiated them into that of letters and science, which they carried 
 wherever their dominion extended, and principally into Spain ; to the Greeks, therefore, is owing the renewal, or 
 the first institutions, of the sciences and arts, whether through the intermediation of Romans, Arabs, or Italians. 
 
 Sculpture and painting were, by religious laws, proscribed to the Arabs ; light ornaments, which took the 
 name of Arabesques, were at the utmost employed. 
 
 In architecture they distinguished themselves by a great magnificence ; but the singularities which they 
 introduced effected the destruction of the Greek and Roman simplicity. The kind of grace which Arab 
 architecture presents, nearly touches upon affectation ; and the surprise which it causes is due, generally, to 
 boldness, variety, and a profusion of fantastic form. 
 
 ITALY. 
 
 ITALY UNDER THE EMPERORS OF THE WEST, DURING THE ELEVENTH AND TWELFTH CENTURIES. 
 
 DIFFERENCES BETWEEN THE PRIESTHOOD AND THE EMPIRE. THE ARTS IN THE LAST 
 PERIOD OF THEIR DECLINE. 
 
 The wishes of Italy, at the death of Otho III. in 1002, had yielded the sceptre to Hardouin, one of the 
 most powerful lords of the country. Called, however, to the throne by numerous partisans, Henry II., already 
 king of Germany, passed into Italy in 1004, defeated Hardouin, caused himself to be crowned at Pavia, 
 
HISTORICAL TREATISE. 
 
 then returned into Germany, where he was obliged to remain for many years. Hardouin, profiting by this 
 absence, seized and exercised the sovereign authority, but, in 1013, Henry returned, defeated him, and received 
 the imperial crown of Rome in 1014. 
 
 At the death of Henry, childless, Italy was for a long time deprived of peace, so necessary to the culture 
 of letters and arts. 
 
 If we except Gerbert, raised to the pontifical chair in 999, under the name of Silvester, and whose reign 
 was short, the contemporary popes did nothing in their favour. His three immediate successors, John XVII., 
 John XVIII., and Sergius IV., reigned for a short time. Benedict VIII. was more occupied with military 
 expeditions than pacific measures; and John XIX. could scarcely fill worthily a place which he had not feared 
 to purchase with money. 
 
 Different factions agitated Italy in the election of a new king, at the death of Henry, but Conrad IL, 
 duke of Franconia, and already king of Germany, dissipated these; in 1026 he took the crown of Italy at 
 Milan and Monza, and the year following he received the imperial crown at Rome, from the hands of John XIX. 
 At his death, Henry III., his son, chased Benedict IX. from the pontifical chair, which he dishonoured. 
 
 In 1044, Silvester III. and Gregory VI. unworthily wore the tiara. 
 
 Henry was crowned in 1046 by Clement II., but at his death, in 1056, leaving his kingdoms of Germany and 
 Italy in the hands of Henry IV., his son, at a tender age, the disorders inseparable from minorities signalled 
 that of the young prince. The history of this beautiful and unhappy country presents us with the afflicting picture 
 of a people groaning under the yoke of princes who, without excepting Gregory VII. and Urban II., reckoned 
 the happiness or misery of their subjects as nothing. 
 
 The wars between Matilda of Tuscany and the Emperor Henry IV., sustained Gregory VII. in his quarrels 
 with that prince, whom the firm, audacious, and persevering pope at last prostrated at his feet, and consigned 
 to the most humiliating penance. 
 
 In these times of disorder and crime, what could be the state of the arts ? those children of peace and 
 friends of virtue ! What trophies would have been erected to shameful victories ? What monuments, what 
 temples, could they consecrate to the service of religion, which all parties equally sullied by excesses, so contrary 
 to its spirit ? Degraded themselves in their principles as in their employment, they fell into the state of 
 barbarism which the productions, which bear the date of this epoch, show us. 
 
 EFFORTS OF TOWNS AND COUNTRIES IN ITALY, FROM THE ELEVENTH CENTURY, TO PROCURE PARTICULAR 
 GOVERNMENTS FOR THEMSELVES. CONQUESTS OF THE NORMANS, AND THEIR ESTABLISHMENT 
 IN THE TWO SICILIES, UNTIL THE END OF THE TWELFTH CENTURY. INFLUENCE OF 
 THESE EVENTS UPON THE ARTS. 
 
 While the pontiffs and sovereigns delivered themselves up to their disordered passions, most of the 
 principal cities in Italy, discontented with the ministers which the absent emperors sent to govern them, were 
 no less chagrined to see the bishops and abbots of rich monasteries exercise an authority which, increasing with 
 that of the popes, encroached every day upon the temporal power. 
 
 In such a state of things the inhabitants of towns thought that, in taking upon themselves the care of their 
 internal administration, they would more directly succeed in procuring security, riches, and happiness. 
 
 Venice had already, in the seventh century, offered the example, by confiding the interests of the state to 
 the most distinguished amongst her citizens, under a chief chosen from amongst themselves ; they had, in spite 
 of some dissensions, seen their territorial possessions and commerce rapidly increase, and their maritime forces 
 augment to a point that, from the middle of the ninth century, the Venetian fleets combated with success those 
 of the Saracens and Greeks. In the eleventh century this republic ranked amongst the powers of Europe, and 
 had ambassadors with the emperors of the East and West, a politic communication which favoured sensibly 
 the restoration of the arts in Italy. 
 
 This spectacle engaged the citizens of Pisa and Genoa to take the same measures to obtain the same 
 advantages. In the twelfth and thirteenth centuries, their forces had become sufficiently respectable to 
 sustain an important part in the Crusades; it is there, principally, that they derived the means of raising 
 the sumptuous monuments of architecture, which attest their ancient power and contribute to their present 
 splendour. 
 
 The city of Milan suffered by the continual wars waged with the neighbouring towns which she wished 
 to dominate. The germs of a new discord developed themselves about this period in the pretensions for 
 the supreme power in Italy by the factions of the Guelphs and Ghibelines. Thus anarchy reigned every- 
 
xvi HISTORICAL TREATISE. 
 
 where, especially under the reign of Frederick I., memorable in Italy by the quarrels of this prince with 
 Alexander III., by his bloody victories, and the cruel vengeance exercised against the city of Milan. From 
 the year 1167 the famous Lombard league was formed, and after the convention which he signed at Constance 
 in 1183, these cities governed themselves by laws, enacted by each for their interests. 
 
 The Norman dynasty, formed by illustrious adventurers, who figured upon a throne, and in the history of 
 Italy, as a meteor which shines for an instant in the heavens, leaving but a luminous trace behind, commenced 
 in 1016 with Robert Guiscard, duke of Pouille, and ended in 1194 with William III., seized by the Emperor 
 Henry IV., by whom he was mutilated and imprisoned in Germany. 
 
 The strange and important events, the Crusades, which called from their homes a prodigious number of 
 monarchs, princes, and inhabitants of all parts of Christian Europe, from the end of the eleventh century, now 
 call upon our attention. 
 
 GREECE. 
 
 OF THE CRUSADES. OF THE EASTERN EMPIRE DURING THE ELEVENTH AND TWELFTH CENTURIES, 
 UNTIL THE TAKING OF CONSTANTINOPLE BY THE LATINS, IN MCCIV. 
 
 STATE OF THE ARTS DURING THIS PERIOD. 
 
 No one is ignorant, at this hour, that, beyond the interests of religion, views of ambition and political 
 considerations led to the enterprises of the Crusades. The prodigious fortunes recently achieved by the Norman 
 gentlemen, during a voyage of nearly the same character, offered powerful temptation, and was a determining 
 motive for many of the Crusaders, above all for the warriors by profession. 
 
 Gregory YII., always ready, where the interest of the church was concerned, to admit great conceptions, was 
 doubtless touched by the complaints which the pious and unfortunate inhabitants of Palestine, then under the 
 yoke of the Turks, carried to the papal chair. Urban II., whom Gregory designed as his successor, probably 
 because he had animated him with the intentions with which he himself was filled, delivered himself to the 
 execution of this vast project. 
 
 Godefroi de Bouillon, before the end of the year 1096, arrived at Constantinople, at the head of a 
 considerable number of troops, well armed, and of acknowledged valour, following the innumerable bands which 
 Peter the Hermit, and Gaultier, sans avoir, had persuaded to depart. He was declared generalissimo, and in 
 the following year, having vanquished the Mussulman forces, remained master of Cilicia and Syria. In 1099, 
 Godefroi besieged Jerusalem, which the caliph of Egypt had taken from the Turks, and carried it by assault. 
 The new kingdom of Jesusalem, founded by the Crusaders, was destroyed by Saladin in 1187. 
 
 Alexis Comnenus marched against the Crusaders, who called the Italian republics to their aid. 
 
 The fine arts sustained important losses ; to furnish the enormous expenses of the wars, ceaselessly renewed, 
 beyond the great number of bronze statues, the Greeks were obliged to melt many works of sculpture and 
 chasing, in gold and silver, which ornamented the palaces and churches. 
 
 The art of architecture was more fortunate; the defence of the state demanded a number of fortresses; 
 the Emperor Alexis I. showed his magnificence in the plan of an hospital, so distributed, that the wounded or 
 invalid soldiers found an asylum, orphans were protected there, and the poor of both sexes nourished and 
 sustained. This asylum is supposed to have been able to contain ten thousand persons. 
 
 With respect to painting, judging from the specimen I have been able to procure, and which consists in 
 miniatures taken from a manuscript executed for this emperor, it was sensibly advancing to decline. 
 
 The Emperor Manuel had to defend himself against the attacks of the Marquis of Montferrat, become 
 sovereign of Thessalonica, and against the other Latin princes already stationed in the heart of his states ; also 
 against Roger, king of Sicily; against the Hungarians, and the Turks. 
 
 The conquests of Saladin, who had retaken Jerusalem, aroused the zeal of the Christian princes, Philip 
 Augustus, king of France, and Richard Cœur de Lion, king of England. The Pope Clement II. succeeded, 
 in 1189, in determining the Emperor Frederic Barbarossa to join them. 
 
 This third crusade had, like those preceding, unfortunate consequences for the Greek empire. Isaac II. 
 occupied the throne. 
 
 At the death of Saladin a fourth crusade was undertaken, about 1195, under the auspices of Pope 
 Celestinus III. ; and, under the conduct of the Emperor Henry IV., many towns were taken, and the 
 possession of Sicily regained. 
 
 
HISTORICAL TREATISE. 
 
 xvii 
 
 But upon a fifth crusade, preached in 1198 by order of Pope Innocent III., the French, uniting with the 
 Venetians in 1202, entered Constantinople the 18th of July, 1203. The Emperor Isaac, associated with 
 Alexis IV., his son, was affirmed upon the throne, but, owing to the conduct of these princes and of the 
 Crusaders, the people arose, the emperors were assassinated, and Alexis V., called Murtzuphles, proclaimed. 
 
 Under the pretext of avenging injury, but doubtless instigated by the hope of appropriating a conquest of 
 which they had appreciated the value, the Crusaders besieged Constantinople, and took the capital of the East 
 by assault in April, 1204. The number and value of the statues, vases, and utensils in gold and silver, which 
 they found, cannot be estimated; still less the quantity of chefs-d'œuvre of art yet existing at this epoch, and 
 which, unfortunately, became the prey of ignorance and cupidity. 
 
 In terminating our remarks upon the Crusades, we remind the reader of one of their remarkable results, 
 the institution of three noble, religious, and military orders under the names of the Knights of St. John of 
 Jerusalem, the Templars, and the Teutonic Knights ; the two first founded at the commencement, the latter at 
 the end of the twelfth century. At an epoch when the arts would appear to have been most neglected, they 
 employed them in the construction and embellishment of a great number of churches, palaces, and fortresses in 
 countries where all kinds of monuments seemed devoted to destruction. 
 
 GREECE. 
 
 Political advantages were not the only benefits reaped by the different people of Western Europe upon the 
 division of the Greek Empire ; the taste for the productions of art became more lively and general by more 
 frequent communication, and by the possession of the number of monuments which they transported to their 
 homes. In the superb metropolis of the East the vestiges of the ancient monuments still remained, notwith¬ 
 standing the general decline ; and even those which had been erected under the successors of Constantine, 
 although less conformable to the severe principles of art, displayed a grandeur of arrangement and a richness of 
 ornament at that time unknown in Italy. 
 
 Sculpture also preserved throughout the Greek Empire a multitude of productions of a fine epoch, of 
 statues, busts, bas-reliefs, and sepulchral urns. 
 
 Painting, in the mosaics and frescoes which decorated the churches and the palaces of Constantinople, 
 although deprived of the correctness of antiquity, presented a grand and imposing aspect. Belisarius, under 
 the garments of poverty, had lost nothing of the majesty of his features. 
 
 It would be useless to enter into a research upon the state of letters and the arts during the short 
 domination of the Latins in Greece ; their presence consummated the loss of good principles, already so 
 corrupted, in Greece. 
 
 The return of the Greeks, under Michael Paleologus, to Constantinople, led to a new scene of disasters ; 
 his successors were constantly employed in defending themselves against some of the most redoubtable of the 
 Mussulman sultans, until the successor of Amurath, the celebrated Mahomet II.. attacked the city itself, and 
 carried it by assault on the 29th May, 1453. Under this last blow the remains of the Roman Empire in the 
 East finally crumbled and fell. 
 
 ITALY. 
 
 CIVIL AND POLITICAL STATE OF ITALY DURING THE THIRTEENTH AND FOURTEENTH CENTURIES. 
 
 Whilst Greece was painfully wrestling with disorder at home, and attack abroad, Italy was herself troubled 
 by great political agitation. Henry VI. governed the Neapolitan provinces and the kingdom of Sicily, which 
 he had seized, with a hand of iron. Philip, and Otho, who preceded his son Frederick II., aggravated these 
 troubles; but upon the death of Otho in 1218, Frederick found himself possessor of the Germanic empire and 
 the kingdom of Sicily. Called upon to exercise the functions of ruler of Italy, which the title of King of the 
 Romans gave him, this prince was destined to feel more acutely than his ancestor the sad effects of the 
 dissensions which, for so long, had dishonoured the priesthood and the empire. Among the five popes 
 personally opposed to Frederick, Gregory IX. and Innocent IV. are to be distinguished, on account of their 
 personal enmity and the abuse of the power which they held. 
 
rv 
 
 k 
 
 xviii HISTORICAL TREATISE. 
 
 The reign of this prince offers an interesting epoch in the progress of civilization : it is properly that in 
 which the regeneration of the sciences and arts commenced. Born in Italy, pupil of Innocent III., and of the 
 archbishops of Palermo, Morreale, and Capua, all three distinguished by their virtues and knowledge, the happy 
 disposition which this prince had received from nature was cultivated by every branch of study. He loved and 
 cultivated poetry, and was no stranger to the useful sciences of astronomy, natural history, medicine, and surgery. 
 
 Sensible to the charms of the fine arts, monuments of different kinds were executed by his orders, or directed 
 by himself ; he founded many towns in Calabria ; in La Pouille, in Sicily, his palaces were enriched with statues 
 and columns of marble. 
 
 The coins which he struck offered, in their execution, a degree of merit very rare at this epoch. 
 
 We see in the course of this work that he caused the books which he himself composed to be ornamented 
 with miniatures under his own eye. 
 
 His children, Conrad and Manfred, possessors, after him, of the kingdom of Sicily, favoured the liberal arts 
 likewise, and cultivated them themselves. 
 
 The princes of the house of France, Charles I. and Charles II. of Anjou, who took the kingdom of Naples 
 from the last branches of the house of Suabia, continued to encourage the arts. 
 
 Notwithstanding the difficult position in which the popes found themselves during this century, many of 
 them were distinguished for the encouragement they gave to letters and science. Innocent III., Honorius III., 
 Gregory IX., Innocent IV. made it a duty to encourage the progress of science, not only in Italy but beyond 
 the Alps ; with these must be associated Urban IV. and Nicholas IV. Although, in their execution, the 
 productions of art of this period are tinctured, by the rudeness of the preceding ages, they commence 
 nevertheless to present a kind of relative merit and interest. 
 
 The decline with which all science had been struck, during more than eight hundred years, at last 
 reached its termination. A new activity seized upon all minds and directed them towards a useful 
 career; men delivered themselves with success to all branches of commerce and industry, they occupied 
 themselves with ardour in the restoration of letters and the amelioration of the fine arts, during the course 
 of the fourteenth century. 
 
 The number of artists which had at all times existed in Italy, was increased in the thirteenth century by the 
 arrival of the Greek artists, leaving Constantinople upon the arrival of the Latins. Pisa, Bologna, Milan, and 
 Venice, show the productions of both these classes of artists. The painters, Greek or Italian, formed themselves 
 into companies, or commercial corporations, of the fine and the mechanical arts. In the fourteenth century, the 
 architects, sculptors, painters, and those who united the exercise of the three arts, gave themselves particular 
 constitutions under the name of statutes, and formed a distinct corporation, under the name and invocation of 
 St. Luke, regarded as the earliest Christian painter. The first of these statues is mentioned by Vasari in the 
 life of Jacopo di Casentino, architect and painter. “ Towards 1349, the painters of the old Greek style, and 
 those of the new, disciples of Cimabue, finding themselves in great number, united and formed at Florence a 
 company under the name and protection of St. Luke the Evangelist.” * 
 
 PROGRESS OF THE REVIVAL OF LETTERS AND THE ARTS IN THE FIFTEENTH CENTURY. 
 
 The rapid progress which the different branches of human industry made in Europe, during the course of 
 the fifteenth century—as agriculture, commerce, the sciences, fine arts—was due to the few obstacles which 
 in Italy were presented by foreign interference. 
 
 The troubles occasioned by the passage of Charles VIII. into Italy, towards the end of this century, were of 
 short duration ; they terminated, as his expedition, in the course of a year. 
 
 The extinction of two schisms having restored peace to the Church, the pontiffs were able to exert their 
 predilection for letters and the arts. The pontificates of Martin V., of Nicholas V., and of Sixtus IV., were 
 favourable to them, and prepared, during the fifteenth century, for the splendour with which they afterwards 
 shone under the reigns of Julius II. and Leo X. 
 
 The masters of the new states, of which we have described the formation, most encouraged the arts ; by 
 their taste the lords of Milan, the princes of the house of Este, and the family of the Medici, contributed 
 to increase their limits and assure their independence, so that they made rapid progress. 
 
 Introduced to all courts with men of acquirements and 1 of letters ; with men and women the most 
 
 These statutes have been given at length by Baldinucci, “ Notizie de’ Professori del disegno,” vol. i., dec. v., del secolo 2. 
 
HISTORICAL TREATISE. 
 
 xix 
 
 distinguished by the graces of mind and urbanity of manners ; admitted to fêtes, tournaments, and all 
 magnificent spectacles; charged to arrange and decorate them; the artists saw opportunities of exercising 
 their talents multiply ; they enlarged their ideas and perfected their taste, using for their advantage the 
 choice libraries, collections of ancient statues, medals, engraved gems ; worthy objects of luxury, and 
 employment of riches. 
 
 RESTORATION OF THE ARTS, COMPLETED DURING THE FIRST YEARS OF THE SIXTEENTH CENTURY. 
 
 Thus, thanks to all which had, during the fifteenth century, prepared the way for the sciences, letters, and 
 arts, all circumstances at the commencement of the sixteenth, found themselves united to complete their 
 revival. The impulse being given, the movement was rapidly communicated ; all the branches of industry 
 and inventions of genius were cultivated and propagated. 
 
 The art of printing had already been discovered ; this marvellous means of multiplying the Greek and Latin 
 manuscripts, which had before with great difficulty been procured, much facilitated study and spread instruction 
 everywhere. The impression from stamps, or rather, the art of taking impressions from engraved plates, in 
 giving a facility to form collections of this nature, rendered the enjoyment of the productions of antique and 
 modern art general. 
 
 So many happy circumstances brought art in all its branches to perfection, and a taste for the chefs- 
 d’œuvres of its productions spread amongst all classes. A liberality which, in recompensing and honouring the 
 artist, multiplied their number, and entertained amongst them that emulation which generates genius. 
 
 Leonardo da Vinci, Michael Angelo, Titian, Bramante, and Raphael, sprung from these favours and 
 distinctions, which the delicate appreciators of genius and the generous protectors of the fine arts, men and 
 women, united to afford them under the bright sky of Italy, and thus enabled them to carry art to the high 
 degree of glory which it ultimately reached. 
 
 Multiplied during the fifteenth century, in the cities I have mentioned and in an infinite number of others, 
 the productions of art, already so near perfection, left nothing to be desired from an early period of the sixteenth. 
 
 Then Rome regained her place as first in the empire of the arts. Julius II. had called all excellence there, 
 Leo X. caused it to remain. 
 
INTRODUCTION. 
 
 rpHE desire to imitate the objects which we see is a sentiment born with man. In consequence of this 
 natural arrangement, imitation becomes an art whenever the means employed to obtain exactness are sub¬ 
 mitted to rules and reduced to principles. The three arts of Drawing, Painting, Sculpture, and Architecture, owe 
 their origin to this natural sentiment ; and all three derive also their perfection to the enlightened employment 
 of rules dictated by reason and taste : from this it is evident that the germ of the arts exists in every nation ; 
 but that the means employed by each, and the degree of perfection to which they may arrive, can never be the 
 same, in consequence of the difference of climate, manners, religion, and government; the influence of which 
 must ever be most powerful and inevitable. Leaving then to the general history of the human mind the care of 
 ascertaining the first moment of the birth of the arts, or even of the people who first conceived the idea; dis¬ 
 cussions which the amour-propre of nations would render interminable, it has been thought wiser to commence 
 these observations at the period when the trials and successive labours had already conducted the produc¬ 
 tions of natural talents to a certain degree of perfection. We have, therefore, chosen for the subjects of our 
 examination those nations which have generally been regarded as having approached the nearest to that 
 perfection to which man for ever directs his attention. 
 
 Amongst the Egyptians, the Etruscans, the Greeks, and the Romans, Architecture appears to have preceded 
 the drawing of the human figure as an art. It is sufficient to prove this priority, to follow the route held by 
 each of these people ; we shall readily see the successive development and decline of each of the three arts. 
 
 Placed amongst the first wants necessary to man even in isolation, Architecture has not waited, like Painting 
 and Sculpture, for the formation of society : subjected also in a more direct manner to the influence of climate, 
 it was bound to employ the stone, the wood, the earth, which each country offered, to assure to man a retreat from 
 the wild beasts, and protection from the inclemency of the seasons. 
 
 It is in this difference of the materials that Architecture has derived, amongst the different people, the 
 form and style which characterise it in each country ; which distinctive forms and peculiar style were maintained 
 for more or less time, according to the modifications of the social state which had favoured the establishment. 
 Thus identified with man, Architecture is, of all the arts, that which had the earliest fixed rules, and that which 
 is the most fruitful in interesting and philosophical observations. 
 
 The immovable solidity which astonishes us in the antique edifices of the Egyptians, has encouraged the belief 
 that they were guided in their system of construction by the noble desire of assuring to their monuments of art 
 an eternal duration : before, however, we accord to them the honour of so profound a thought, before supposing that 
 they made choice of indestructible materials, and proportions the most proper to consolidate their works with this 
 intention, we must consider the state in which they were, and then we may recognise that this kind of immortality 
 which their vast labours have attained, is a natural result from the ensemble of facts, of which the influence 
 was exercised by itself, and independent of the will of the constructors : from the moment, in fact, when the 
 Egyptians commenced building, the facilities which they had for procuring granite and stone, and the absence of 
 wood, the example of the enormous blocks of stone in the caverns where they dwelt, and accustomed to 
 the employment of materials almost indestructible, they passed afterwards from the physical to the moral, and 
 conceived the hope of an immortality which flattered their pride; this sentiment is in perfect accordance with 
 the disposition of the human mind ; and if the character of grandeur, and the unchangeable preservation of their 
 buildings, acting in turn on their inclinations and habits, contributed to the gravity of their manners, and the 
 
INTRODUCTION. 
 
 XXI 
 
 duration of their laws, it is both an example of the power of the arts, and an effect of the first causes entirely 
 material, which guided their genius almost in spite of it. 
 
 However it may be, the Architecture of Egypt, the most ancient with which we are acquainted, offers an 
 original character, not found elsewhere, owing to a singular concurrence of circumstances, physical, moral, and 
 religious, successively associated, and acting one on the other. 
 
 The walls constructed by the Egyptians have a gigantic aspect, an extraordinary thickness ; the habitations ot 
 the people of a single story, and with few openings, were covered with a flat roof, forming a terrace; their 
 temples, without woodwork, were covered by blocks of stone, sustained by enormous columns ; the design of the 
 capitals of the columns varied in the same building; the forms were emblematic, and adorned with leaves of the 
 lotus or papyrus ; the architraves were flat on the surface, and enriched with hieroglyphics. 
 
 Obelisks of prodigious height were cut from the mountains of granite, at incalculable expense and labour. 
 Colossal pyramids occupied immense plains, and temples of enormous extent were covered with ceilings of stone 
 in their ignorance of vaulting, or their unwillingness to make use of it : sometimes the plans were of a 
 monotonous simplicity, others of an irregularity now difficult to understand. Every where the materials and style 
 of the edifice inspire the idea of the grand character of nature herself, or the uniformity of the worship, and 
 impressed the soul with the sentiment of the respect which the mysteries of religion exacted. 
 
 Two great events which changed the political state of Egypt, modified the forms of that architecture, without 
 entirely destroying the primitive rules—the domination of Alexander, and the Greek princes which succeeded 
 him ; and afterwards that of the Romans. It was under the empire of the Greeks that they received, in exchange 
 for the examples of grandeur and solidity they offered, principles more varied, more elegant types for their orders, 
 and richer details for their ornaments. The domination of the Romans produced a more considerable change in 
 the original style of construction in this country ; it caused the birth of a third kind of Architecture: seized with 
 a taste, more bizarre than religious, for the antique worship of the Egyptian divinities, Adrian transported to 
 Rome the gods and their worship, and left in Egypt Roman temples and Roman cities. 
 
 The Etruscans, much nearer to us, both by the time in which they lived, and the country which they inhabited, 
 have left us fewer means of appreciating their knowledge or learning their history. 
 
 If they had not the same origin as the Greeks, it is at least certain that Greek colonies were on two occasions 
 established amongst them. When a nation sends forth colonies her population must be considerable to permit 
 it, or require it, and it is certain, that in this state of the population, the arts, and above all those which are 
 indispensable, must have arrived at a certain degree of perfection. We see, in fact, that at the period when the 
 Greeks spread themselves through Etruria, they were already acquainted with the Architecture called Doric ; and 
 the analogy which exists with this order and the Architecture of the Etruscans, proves very clearly that one is 
 derived from the other, with the exception of the changes which the separation of the two people, and the 
 translation of the Greek artists from the country which had furnished the models, rendered almost inevitable. 
 
 Without giving to the Tuscan order a Greek origin, and on the other side, without advancing any pretensions 
 in favour of the Etruscans, as some writers have done, to suppose the Greeks profited from their knowledge ; 
 we see that the forms of the Tuscan order, where everything has for object the assurance of a perfect solidity, are 
 so simple, that the Etruscans themselves may very well have conceived the idea, without having recourse to the 
 imitation of any foreign style of Architecture. However it may be, in only taking into consideration the know¬ 
 ledge of the Etruscans, and their uses for Architecture, from the period only when they arrived at that degree of 
 perfection which it is necessary for history to study the fine arts, we see that they neglected nothing which could 
 contribute to boldness of character, solidity of the building, or the utility of its parts ; we have not, it is true, 
 any proofs of this fact in the nations submitted to their dominion : however powerful the Etruscan nation may 
 have been, however extended the countries of Italy where they reigned, not a single monument subsists ; time 
 or the hand of man, more jealous still, has not spared a single monument ; but amongst the Romans, we may see 
 some Etruscan constructions. 
 
 The successors of Romulus, like him, were more occupied with the labours of war than the cultivation of the 
 arts ; and when they wished to fortify their place of residence, they called in the aid of Etruscan architects. 
 Tarquin entrusted to the architects of this nation the construction of the walls which formed the enclosure of 
 Rome during his reign ; also the citadel on Mount Palatine, and the temple of Jupiter in the centre of the 
 fortress, and the Cloaca Maxima ; this sewer, still existing, its prodigious extent and solidity, attested by so 
 
 / 
 
XXII 
 
 INTRODUCTION 
 
 many centuries, seems less to belong to a city at its birth, than to the ambition of the founders of a great empire. 
 This astonishing monument shows to this day, that the art of masonry and the construction of arches was 
 perfectly familiar to the Etruscans at the first periods of Rome. 
 
 It is to the Greeks that all kinds of glory were reserved : they added to all that antiquity had invented 
 for the solidity and commodity of buildings, the knowledge which makes of Architecture, at the same time, a 
 science and an art ; they it is who elevated this branch of human industry to the highest degree of perfection, in 
 uniting the useful and agreeable. The first object of Architecture was entirely fulfilled by the Greeks, in the 
 perfection which they gave to the Doric order when disengaging it from its primitive heaviness ; they gave to 
 it proportions, which, without diminishing its solidity, left it with forms simpler and nobler, image of the character 
 of the Dorians themselves ; it is the first age of Greek Architecture, and it is also the kind of construction, 
 where, supposing that Egyptian Architecture had exercised any influence over the Greeks, that influence may be 
 more easily recognised. 
 
 The invention of the Ionic order is the fruit of the second age ; the result of a civilization and instruction 
 more advanced. The invention of this order is attributed to the Greek colonies established in Asia Minor; a 
 country where the beauty of the sky, and the happy distribution of the charms of nature, gave to the inhabitants 
 a lively impulse towards all the enjoyments proper to embellish life. The Greeks established in these countries 
 had carried with them the Doric order, but wishing to add new beauties to this order, by larger spaces, and 
 capitals of a more agreeable form ; they imagined the ornaments, and determined the proportions which con¬ 
 stitute the Ionic order ; their ancient country adopted this embellished type, and added the still greater 
 perfection which all human inventions received at their hands. 
 
 About the time that Greece arrived at a state of richness and power — what we may call the third age, — art 
 exhibited the luxury and magnificence which was then peculiar to the nation in the creation of a new order, 
 which united the grandeur of the first to the elegance of the second ; all that the enlightened and fervid 
 imagination of the Greek people could divine, of the most varied or pompous, either in proportions or ornament. 
 The invention of the Corinthian capital produced the third order, and formed its distinctive feature : If the account 
 which antiquity has transmitted to us of the invention of this capital is buta fable, it is at least worthy of respect. 
 The Corinthian capital owes its beauty to the acanthus leaf, as the Egyptian capitals to the papyrus and lotus ; 
 their primitive types show us objects of imitation, from the peculiar productions of each country, and con¬ 
 sequently exhibit local inventions which took place without either country having borrowed from the other. 
 
 Neither the wishes of sovereigns, nor the efforts of artists, for two thousand years, have been able to substitute 
 for the Corinthian capital anything which equals it in merit. These three orders, the proportions and distinctive 
 forms which characterise them, leave nothing further to be sought for ; not only they fulfil the necessary con¬ 
 ditions for solidity, but they are applicable to every kind of construction ; they offer simplicity, force, elegance, 
 majesty, every kind of beauty which the genius of Architecture can desire to reach. 
 
 It does not appear from history, and no monument of the arts remains to show, that at the epoch of the 
 loundation of Rome, the surrounding nations, with the exception of the Etruscans, had carried the art of building 
 beyond what was required for their first wants. It was the same with the Romans, who in the beginning were 
 nothing but a union of rude men, an assembly of shepherds from different countries ; these rustic inhabitants of 
 Rome contented themselves, at the foundation of their city, with habitations in conformity with their manners. 
 
 When the country had enlarged its enclosure, and when it had commenced enriching itself with the spoils of 
 other nations, it was the Etruscans, as we have said, that they called to embellish their city. The solid and simple 
 kind of construction with which the Etruscans were familiar, suited the habits and tastes of the Romans. Soon 
 the wisdom and moderation of the young republic gave place to the love of conquest — the ambition and cupidity 
 of a people of kings ; but the new habits which were the result of this new situation did not contribute to 
 encourage the Romans in the cultivation of the arts ; so that the Etruscans preserved their superiority, and the 
 Tuscan order remained in use till the communication was opened between Rome, Greece, Asia Minor, and Sicily. 
 
 Then without doubt the Romans added some ornaments to the solidity of Etruscan Architecture ; perhaps, 
 even, they erected edifices less severe, borrowed from the different orders, which were perfected long since in 
 other countries. Young Romans travelled to Greece to study the art and to exercise it ; Vitruvius tells us that 
 it was a Roman citizen that was chosen by king Antiochus, to finish, in Athens itself, the temple of Jupiter 
 
 Olympius. 
 
INTRODUCTION. 
 
 xxiii 
 
 The knowledge of the arts spread more rapidly in Rome, when Greece was reduced to a Roman province. 
 Its conquerors learnt to enjoy the great works with which it was adorned. After this great change Greek 
 Architects followed the victorious consuls to Italy, and new monuments, worthy of these great artists, enriched 
 the city which gave laws to Greece. Augustus having substituted the imperial to the republican govern¬ 
 ment, wished the magnificence of the public buildings to respond to the power of the capital of the world : 
 Rome then changed its aspect. Seconded by the rich citizens, who thus paid court to him, Augustus saw rise up 
 temples, baths, porticoes, consecrated by private munificence to public utility ; and where Architecture exhibited 
 richness of every kind. This magnificence increased after the reign of this emperor, and was soon carried beyond 
 the limit prescribed by good taste. Nero, wishing to surpass his predecessors in the embellishment of Rome, 
 employed, it is said, an execrable means of having occasion to rebuild it. He carried his sumptuosity to 
 extravagance, and exhibited his folly in the immensity and luxury of his “ golden house.” Vespasian, Titus, 
 Domitian, Nerva, Trajan, added still more to this building, and gave to it a prodigious extent ; but at least these 
 princes had the good sense to construct around this habitation monuments of general utility, basilicas, forums, 
 aqueducts, arches of triumph, and an amphitheatre so vast, that the eye can scarcely embrace the ruins, and a 
 column, at the same time a chef-d'œuvre of the two arts united, and a monument of history. Outside Rome were 
 constructed, for convenience and security, bridges, fortresses, roads, and harbours, wherever required for the navy 
 or commerce. The same care erected infinite number of buildings in Gaul, Spain, and Germany, and other 
 Roman colonies still attested by considerable ruins. 
 
 Adrian was so passionately fond of Architecture, that he wished to be considered an architect ; in his 
 reign every part of his empire was covered with monuments : but this prince, in wandering from the first 
 principles of art, which are propriety and convenience, accumulated sometimes in the same building constructions 
 of different kinds, and the most extraordinary, as at his villa at Tivoli, where he adopted such a mixture of forms 
 and styles that he may justly be reproached for having commenced the decline of taste. An invention of which we 
 have now to speak, appears also to have been one of the forerunners of this decline. The Romans, under the first 
 emperors, glutted with riches and glory, felt the want of the enjoyments of the imagination, and several of them, 
 with the most distinguished of their subjects, cultivated the fine arts ; it is well known that from the study, 
 the most superficial of the arts, to the persuasion that they have acquired a profound acquaintance, and to the 
 desire to dictate laws, the passage is easy and prompt for rich men. Adrian offers a striking example ; and this 
 sentiment spread abroad amongst the Romans: they soon felt the ambition to emulate the Etruscans and the 
 Greeks, who had successively been their masters in Architecture ; and they created a new order, the forms of 
 which were only borrowed from the Doric and Corinthian, and for that very reason, was called the Composite. 
 Notwithstanding that this order possesses a certain magnificence, it in nothing surpasses the noble beauty of the 
 Corinthian order, or the elegance of the Doric. 
 
 If this remark appears severe, at least all will believe that after the conquests of Aurelian and Diocletian, the 
 example of the East having increased the passion of the Romans for the magnificence of their buildings, they fell 
 into a most blameable excess. The baths which Diocletian constructed at Rome, as also his palace, destroyed 
 by the effect of their disordered taste the true idea of grandeur. This corruption attests, that when an art is 
 arrived at its perfection, and that ambitious minds, neglecting the true principles, are seduced by the desire to 
 proceed further, decline is the inevitable and immediate result of this error. The influence of the wanderings 
 of Diocletian were manifestly felt under Constantine. Architecture passed rapidly from the superabundance of 
 ornament in which the first prince delighted, to an excessive heaviness in the principal members of the orders, and 
 a fatiguing multiplication of mouldings, without motive, and without harmony, and finally an entire forgetfulness 
 of all convenience or principle. 
 
 This rapid review of the successive state of Architecture amongst the four people that have arrested our 
 attention, will sufficiently prove the justness of the observation with which we commenced. It is seen that the 
 influence of the causes which act most powerfully on the geniuses of the arts, after the climate, are the 
 manners, religion, and the changes to which a nation is subject in its political state during the course of ages. 
 
 The character of the Architecture was solid and severe, as the Romans themselves, when they founded the 
 republic ; magnificent in the first periods of the empire, overcharged with ornaments by the luxury of the great 
 princes in the following centuries, and degraded, impoverished, bizarre — reduced to a nonentity during ten 
 centuries, in the midst of the ruin of the Empire. Art did not recover its lustre till the fifteenth and sixteenth 
 centuries. 
 

ARCHITECTURE. 
 
 FIRST PART. 
 
 DECLINE OF ARCHITECTURE FROM THE FOURTH 
 CENTURY TO THE ESTABLISHMENT OF 
 THE GOTHIC SYSTEM. 
 
 Architecture A 
 
ANTIQUE ARCHITECTURE IN ITS STATE OF PERFECTION AMONG THE GREEKS AND THE ROMANS. 
 
 7. Elevation of the entrance front of the Temple of Fortuna 
 virilis at Rome, now the Church of St. Mary the Egyptian. 
 (Edifices antiques de Rome, par Desgodets, p. 99.) 
 
 8. Plan of the same. (Ibid, p. 97.) 
 
 9. Side elevation of the same. (Ibid, p. 99.) 
 
 10. Plan of the Pantheon at Rome. (Ibid, p. 5.) 
 
 11. Transverse section of the Pantheon. (Ibid, p. 23.) 
 
 12. Details of the Doric order of the Temple of Minerva at 
 Athens. (Ruines des plus beaux Monumens de la Grèce, par Le 
 Roi, part ii. pi. ii.) 
 
 13. Details of the Ionic order of the Temple of Fortuna 
 virilis at Rome. (Edifices antiques de Rome, p. 102.) 
 
 14. Details of the Corinthian order of the interior of the 
 Pantheon. (Ibid, p. 30.) 
 

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 • Siincyrtfi t/ed/cr. e/e cMifeti~.tr Strife . 'cCùtiac,, ^ctreSe^i/^eacfe ; 
 
 /„•//.' . / ,• ■/,rr, //,•/ /////•• //'.... ■. 
 
 ÛÛDffl 
 
 DÜUDDB 
 
PLATE ]]. 
 
 COMMENCEMENT OF THE DECLINE OF ARCHITECTURE IN THE REIGNS OF SEPTIMUS SEVERUS, 
 DIOCLETIAN, AND CONSTANTINE. SECOND, THIRD, AND FOURTH CENTURIES. 
 
 1. Bas-relief, in terra cotta, preserved in the Museum of tire 
 Capitol at Rome. We have here an example of arches sup¬ 
 ported on isolated columns. 
 
 2. Elevation of the principal door of the Palace of Diocletian 
 at Spalatro, called the golden door; the arcades and niches, 
 enriched with columns and pilasters, supported by corbels ; third 
 century. (Ruins of the Palace of the Emperor Diocletian at 
 Spalatro in Dalmatia, by R. Adams, 1764, pi. xiii.) 
 
 3. Façade of part of the Baths of Diocletian at Rome, called 
 Tablinum ; third century. 
 
 4. Side elevations of the octagonal Temple of Jupiter, within 
 the enclosure of the Palace of Diocletian at Spalatro, the portico 
 with arches supported by columns; third century. (Adams, 
 Ruins of Palace of Diocletian.) 
 
 5. Part of the façade of the Baths of Diocletian, at Rome, 
 presenting an example of an entablature interrupted by an arch, 
 and arched windows supported by columns ; third century. 
 
 6. Front of a Sarcophagus from the Villa Albani ; the bas- 
 reliefs separated by columns carrying arches. Examples of this 
 are frequent on the sarcophagi found in the Catacombs, which 
 would give an early date to the employment of columns sup¬ 
 porting arches instead of architraves. (Bosio, Roma Sot- 
 teranea. Aringhi, Boldetti, &c.) 
 
 7. Elevation of the Arch of Septimus Severus, at the foot of 
 the Capitol at Rome ; second century. 
 
 8. View of an interior court of the Palace of Diocletian at 
 Spalatro ; third century : engraved on a large scale in pi. iii. 
 
 9. Arch of Constantine at Rome; tins monument marks 
 the principal epoch of the decline of Architecture ; fourth 
 century. 
 
 10. Details of the eggs in cornice, No. 13, taken from an 
 Arch of Trajan to form the parapet of that of Constantine. 
 
 11. The same ornaments rudely sculptured in the cornice, 
 No. 12, of the time of Constantine. 
 
 12. Portion of the great cornice of the Arch ; of the time of 
 Constantine. 
 
 13. Portion of the same cornice taken, it is believed, from an 
 Arch of Trajan, which decorated the entrance of the Forum of 
 that Emperor. 
 
 14. Detail of the ornaments, elegantly carved on the lower 
 member of the cornice, No. 13, taken from the Arch of Trajan. 
 
 15. The same, scarcely roughed out, taken from the cornice, 
 No. 12. 
 
 16. Base and capital of the fine columns taken from the Arch 
 of Trajan, and placed on a heavy and inelegant pedestal, of the 
 time of Constantine. 
 
 17. Capital of a pilaster, from the Arch of Trajan, adapted 
 to a pilaster too large and a base badly profiled. 
 
 18. Modillion of comice, No. 12; time of Constantine. 
 
 19. Modillion from the Arch of Trajan, of very superior 
 execution. 
 
 20. Impost and archivolt of the side arches ; time of Con¬ 
 stantine. 
 
 21. Comice, serving as impost to the great centre arch, and 
 archivolt, enriched with ornaments in the best style ; from the 
 Arch of Trajan. 
 
 22. Console, forming the key-stone of the Arch of Septimus 
 Severus ; elegant composition. 
 
 23. Console, forming the key-stone of the Arch of Constan¬ 
 tine ; poor in style and badly executed. 
 
PLATE IV. 
 
 BASILICA OF ST. PAUL OUTSIDE THE WALLS OF ROME, IN ITS DIFFERENT STATES FROM ITS FOUNDATION 
 IN THE FOURTH CENTURY UNTIL DESTROYED BY FIRE. 
 
 1. Plan of the basilica of St. Paul in its original state, in the 
 fourth century, in the time of Constantine and his successors, 
 Valentinian II., Theodosius, Arcadius, and Honorius. 
 
 2. Tranverse section of the same, showing the great arch 
 between the nave and transepts, which was called the triumphal 
 arch in the primitive churches, because the Christians were 
 accustomed to trace in mosaic on these arches the triumphs of 
 Christ, even as the Pagans adorned their triumphal arches with 
 the victories of their emperors. 
 
 3. Longitudinal section, showing the form of the ancient 
 portico. 
 
 4. Plan of the church in the state in which it was prior to the. 
 
 fire, with the chapels, sacristies, and dépôts, and other depen- 
 dancies successively added; also the new portico, erected in 1725, 
 under the pontificate of Benedict XIII. 
 
 5. Section of the transepts ; the wall pierced with arcades 
 dividing it throughout its length, is a later addition, which has 
 very much changed the original form. 
 
 6. Exterior view of one of the sides as it appeared before 
 the fire. 
 
 7. One of the trusses of the roof of the nave. 
 
 8. Longitudinal section of one division of the same roof. 
 
 9 and 10. Details of the truss. 
 
 Architecture B 
 
PLATE V. 
 
 ARCH OF THE NAVE OF THE BASILICA OF ST. PAUL, SUSTAINED BY TWO COLUMNS OF DIFFERENT 
 PERIODS AND STYLE. FOURTH CENTURY. 
 
 1. One of the Arches of the Nare, reposing on the right on a fine antiqne column, and on the left on a column of 
 very inferior style and workmanship. 
 
 2. Column of fine proportion, with its capital and base, taken from the Mausoleum of Adrian. 
 
 3. Column of the rudest execution, at the time of the foundation or enlargement of the church in the fourth century. 
 
) ci 
 

PLATE VI. 
 
 CORINTHIAN BASE AND CAPITAL FROM THE NAYE OF THE CHURCH OF ST. PAUL, 
 OF THE BEST PERIOD OF ART. 
 
 1. Profile at large of the base. 
 
 2. Detail of capital of the same column, of exquisite proportion and workmanship. 
 
 

 
 PLATE VII. 
 
 COMPOSITE BASE AND CAPITAL FROM THE NAVE OF THE CHURCH OF ST. PAUL, OF THE TIME OF 
 THE CONSTRUCTION OF THE CHURCH, IN THE FOURTH CENTURY. 
 
 1. Profile, at large, of the base of the column, No. 3, pi. v., executed in the time of Constantine. 
 
 2. Detail of composite capital of the same column. On comparing this base and capital, executed in the fourth 
 century, with those of the preceding plate, of the best period of art, we may trace the degradation at which art 
 had already arrived. 
 
A, y/if. 
 
 r,„ 17 / 
 
 
PLATE VIII. 
 
 BASILICA OF ST. AGNES OUTSIDE THE WALLS OF ROME ; CHURCH OF ST. CONSTANCE; TEMPLE OF NOCERA. 
 
 FOURTH CENTURY. 
 
 1. Ground plan of the Basilica of St. Agnes, with a portion 
 of the staircase by which it is reached ; fourth century. 
 
 2. Plan of the upper story, on a level with the galleries. 
 
 3. Longitudinal section through the portico, nave, and apsis. 
 
 4. Transverse section, showing the tabernacle (ciborium), 
 supported by four columns of porphyry. 
 
 5. Base and portion of shaft of one of the columns of nave ; 
 taken from some antique monument, and remarkable for its 
 precious material and perfect execution. 
 
 6. Antique ornament which forms the comice round the 
 tribime or apsis. 
 
 7. Plan of the Church of St. Constance at Rome, near the 
 Basilica of St. Agnes, commonly called the Temple of Bacchus. 
 
 The columns are coupled in the direction of the radii of the 
 circle, instead of on the line of the circumference. 
 
 8. Transverse section of the Church of St. Constance, where 
 the coupling of the columns may be seen. 
 
 9. Plan of an antique temple converted to a church—S“- 
 Maria Maggiore at Nocera de Pagani, on the road from Naples to 
 Salerno. 
 
 10. Section of the antique Temple of Nocera; in its circular 
 form and coupling of the columns it resembles the Church of 
 St. Constance, Nos. 7 and 8. 
 
 11. Plan of the Church of St. Martin, near Bonn, re¬ 
 sembling both the Church of St. Constance and the Temple of 
 Nocera. 
 
 Architecture C 
 
I 
 
 PLATE IX. 
 
 TABLE OF THE MOST CELEBRATED CATACOMBS, PAGAN AND CHRISTIAN. 
 
 1. Egyptian Catacombs near Saccara, called the Well of 
 Birds. On the upper part of the plan may be remarked 
 the vases of earth in which were placed the embalmed birds : 
 the vases were connected together by a cement. Vide Descrip¬ 
 tion of the East, &c. by R. Pococke, 2 vols, in fol. ; London, 
 1743, vol. i., p. 54, pi. xxi. Mémoire du duc de Chaulnes sur 
 la véritable entrée du Puits des Oiseaux, in 4to. ; Rome, 1783. 
 Guattani, Monumenti antichi inediti, 6 vols, in 4to. ; Roma, 
 1784-1789, tom. iv., p. 9. 
 
 2. Another Egyptian Catacomb, a little to the south of the 
 Pyramid of Saccara. From the description of Pococke (vol. i., 
 p. 53, pi. xxi.), the mummies of the common people were 
 arranged upright in the corridors, or placed pellmell in cells, 
 whilst the persons of distinction were placed in separate niches. 
 
 3. Plan of the finest part of the Catacombs of Alexandria, 
 described by Pococke (vol. i. p. 9, pi. v.) Norden (vol. i. pi. xiii.) 
 
 4. Square niche, with a sarcophagus, enriched with pilasters, 
 forming part of the Catacomb No. 3. 
 
 5. Another semicircular niche from the same Catacomb. 
 These two niches, as may be seen from the style of their archi¬ 
 tecture, are not the work of the ancient Egyptians, but of the 
 same people under the empire of the Greeks, a short time 
 after their entrance into Egypt. They seem destined to receive 
 sepulchral unis or sarcophagi of distinguished persons ; perhaps, 
 also, they may be regarded as small temples. 
 
 6. Section of a part of the Catacombs described by Pococke 
 (vol. i., p. 9, pi. v.), on the west of Alexandria. 
 
 7. Plan of the same. The regularity of the disposition of 
 this plan is remarkable, and differing in this respect from most 
 of the Catacombs used by the Christians ; it is also similar 
 in arrangement to those by the Saracens at Taormina, in Sicily, 
 given at No. 20. 
 
 8. General plan of the Catacombs of Syracuse, called the 
 Grottos of St. John. (Boldetti, Osservazione sopra i eimeterj dei 
 SS. Martiri, 2 vols, in fol. ; Roma, 1720.) It is difficult to 
 assign a true reason for these immense excavations, neverthe¬ 
 less their form is more regular than those of the Roman 
 Catacombs: the anangement of the galleries, the proportion 
 and happy distribution of the ensemble and details, all appear 
 to indicate that from their origin these excavations were expressly 
 destined for the sepulture of a numerous population ; and it 
 appears equally evident, that they passed successively from the 
 Pagans to the Christians. 
 
 9. Plan of one of the circular halls seen in the above 
 Catacomb. 
 
 10. Section of the same hall. Some of these halls may be 
 remarked on the plan, which, from its extent and general size, 
 and height of the galleries, the order and arrangement of the 
 cavities for sepulture, gives the idea of a work executed with 
 design and leisure, and with means very different from those 
 at command in producing the Catacombs of Rome. 
 
 11. Gen eral plan of the Catacombs of Naples, called Cemetery 
 of St. Janvier. 
 
 12. Longitudinal section of the Catacombs of St. Janvier. 
 
 13. Section of another portion of the same Catacombs. 
 
 14. Detail, on a large scale, of the chapel shown in No. 13. 
 Unless the Catacombs of Naples were destined to public sepul¬ 
 ture by the first and most ancient inhabitants of this city, it is 
 difficult to arrive at any certain opinion of their origin. Cut 
 out of continuous masses of stone, and divided into roads much 
 more considerable in height and width than those of Rome, 
 since they are sometimes seventeen or eighteen feet by fourteen 
 or fifteen feet, and often consisting of three stories, only one of 
 
 which is at present open, at the first aspect it would be sup¬ 
 posed that these excavations, now the habitations of the dead, 
 were made, like those in so many places, to obtain the stone 
 necessaiy for the habitations of the living. But as we find this 
 stone nowhere employed, this opinion, notwithstanding, has but 
 little foundation ; neither can these excavations, from the 
 immense labour required, have been the work of the Christians ; 
 nor do we find so clearly as in Rome inscriptions or traces 
 of the martyrs. From tliis cause M. Pelliceia, author of a 
 learned work on the practice of the primitive church, and 
 of the middle and later ages, believes that these roads, and 
 principally the lowest, were excavated at a very early period by 
 the ancient people of the Campania, to communicate with and 
 mutually succour each other,—that the Christians did not use 
 them until the third century, and that, in after ages, the zeal of 
 the Neapolitan bishops and clergy added the churches and 
 chapels enriched with sacred paintings: the section No. 14 
 offers an example of one of these chapels. The large arches 
 and columns which decorate them have a grand and imposing 
 effect, observed in several portions of these catacombs, which 
 nevertheless have not the sentiment of religious horror which 
 those of Rome inspire. 
 
 15. General plan and details of the Catacomb of S. Mar- 
 cellino, near Rome, via Labicana. (Aringhi, Roma sotterranea, 
 vol. ii., p. 412.) In the interval of the persecutions, and above 
 all after the liberty accorded to Christianity, the popes, desiring 
 to preserve and embellish the Catacombs, ordered substructions 
 and works sometimes executed with great care. We have here 
 an example taken from the Catacomb of S. Marcellino, on the 
 upper portion of the plan on the left. They also constructed 
 chapels, in which, at times of festivals or retreats, they enlivened 
 by their exhortations and example the devotion of the 
 faithful. At the lower part of this plan is an interior view of one 
 of these chapels, taken from the same Catacomb. Mass is still 
 celebrated here once a year, in the month of June, on the fete 
 day of the saint. 
 
 16. View of another chapel of the Catacomb of S. Marcellino ; 
 the opening at the top for light and air. These openings are 
 frequently met with in the environs of Rome : the places so 
 lighted were called cubicula clara. 
 
 17. Plan of part of the Catacomb of St. Saturnine, near 
 Rome, via Salara, under the Villa Gangalandi, excavated, like 
 most of the others, in the pozzolana and volcanic tufo, of 
 which the lower soil of Rome and its environs is composed. 
 This Catacomb offers naturalists a means of examining the 
 nature of this soil at great depth, and of easy access. 
 
 18. Section of part of the Catacomb of St. Saturnine. 
 
 19. Plan of the place called Platonia at St. Sebastian, out¬ 
 side the walls of Rome. This place, much decorated by the 
 piety of Pope St. Damasius, in the fourth century, is partly 
 subterranean, and placed on the left of the choir of the church, 
 between it and the Cemetery of St. Calixtus, pope and martyr. 
 “ Nobilissimum,” according to the expression of d'Aringhi, “quod 
 cæteris turn amplitudine, turn antiquitate præstat.” There are also 
 three niches, which have probably' been tombs, excavated in the 
 tufo, and lined with brick : a marble bench is placed all round. 
 In the centre of this place was the episcopal or pontifical seat, 
 and the walls were lined with marble, from which arose the 
 title of Platonia. St. Damasius, who cultivated the sacred muses, 
 engraved on the marble : 
 
 HIC HABITASSE PRIVS SANCTOS COGNOSCERE DEBES 
 
 NOMINE QVISQVE PETRI PARITER PAVUQVE REQVIRIS 
 
 This is the entrance into the Catacombs of St. Sebastian. 
 
PLATE IX.— (Continued.) 
 
 20. Plan and section of a Cemetery at Taormina in Sicily, 
 supposed to have been made by the Saracens when they were 
 masters of this island. Remains of a causeway twelve feet 
 wide may be seen, with cells or sepulchral niches on each side, 
 three or four feet wide, by six or seven feet long. Each of these 
 cells was probably closed by a stone, on which were inscriptions. 
 These tombs are said to have some analogy with the tombs 
 of the Moors, found in the neighbourhood of Granada in Spain. 
 
 21. Plan and section of an Etrusean Catacomb, under the 
 ancient Tarquinia, near Coraeto. The Etruscans, who afterwards 
 adopted the custom of burning the bodies and enclosing them 
 in ums, commenced, like other nations, by burying them in 
 public cemeteries ; further details are given of this Catacomb in 
 plate x. 
 
 22. Part of a Catacomb at Quesnel in France ; the entire 
 plan may be seen in the Mémoires de l’Académie des inscrip¬ 
 tions et belles lettres, vol. xxvii. We leam from the descrip¬ 
 tions of travellers, both ancient and modem, that there is scarcely 
 a country of the world where excavations, of the kind that have 
 been described, do not exist. This excavation (No. 22) presents 
 much analogy with the Catacombs ; not that it appears to have 
 been a cemetery, but from its origin, the form of the excava¬ 
 tion, and from the uses which it served at different epochs. In 
 early times a quarry from which the inhabitants drew stone, 
 in the ninth and tenth centuries where they took refuge from 
 the incursions of the Romans with their furniture and cattle, and 
 for this purpose they excavated cells of ten, twelve, and thirteen 
 feet long and wide, vaulted in the tufo : the entrances were almost 
 always in some neighbouring church. At the present day these 
 places, which formerly received, and still retain, the name of 
 Territorium sanctæ liberationis, serve to assemble the young 
 
 girls of the neighbouring villages. They bring here their work 
 during the long winter evenings, and here keep the watch, 
 which always finishes by dancing; so that, in all times, these 
 retreats of man have been from time to time a theatre of fear, 
 labour, and pleasure. The number of these monuments, differ¬ 
 ing from the nature of the ground, time, and customs of the 
 several people, are infinite. Those now given have been 
 selected because they give the most just idea of a place of 
 sepulture, subterranean, public, and religious. 
 
 23. Plan and section of the excavations which are, in the 
 present day, made in the neighbourhood of Rome, for the 
 extraction of pozzolana. 
 
 24. Plan of the great excavations of pozzolana at the 
 “ three fountains,” near Rome, between the Via Ostienis and 
 the Via Appia. 
 
 25. Section of part of the same. 
 
 26. View of a chamber in a Catacomb, such as are frequently 
 found in the neighbourhood of Rome. 
 
 27. Outer face of sepulchre excavated in the side walls 
 of Christian catacombs, unopened. 
 
 28. Interior of a tomb in which is a skeleton ; on the stone 
 which closes the tomb is the monogram of Christ, near the head 
 a lamp, and at the feet a vase of blood—unequivocal signs of 
 the tomb of a martyr. 
 
 29. Another tomb, which had the body nearly destroyed: 
 at the feet a hatchet., emblematical of martyrdom, which was 
 also represented outside by the palm-branch and monogram of 
 Christ. 
 
 30. Tomb, partly open, with a Christian inscription on the 
 outside. 
 
 PLATE X. 
 
 PLAN OF THE ETRUSCAN CATACOMBS OF THE ANCIENT TARQUINIA, NEAR CORNETO. 
 
 1. Plan of part of the Catacomb. 
 
 2. View of the interior. 
 
 3. Part of the frieze on the upper part of the walls ; it represents the furies tormenting a sinner. 
 
 4. From the same frieze, a figure on a chariot drawn by two figures, representing good and evil fortune. 
 
PLATE XI. 
 
 ANOTHER PART OF THE ETRUSCAN TOMBS OF TARQUINIA. 
 
 1. View of the interior of another tomb. 
 
 2. Decoration of the entrance. 
 
 3. Drawing, at large, of the two figures painted on either 
 side of the doorway. 
 
 4. Part of the frieze painted round the upper part of 
 the walls of the interior, representing men the prey of wild 
 beasts. 
 
 5. Other representations of torture by fire and iron, taken 
 from another tomb. Dempster gives the drawing. (Etruria 
 regalis, vol. ii., pi. Ixxxix.) 
 
 6. Examples of the different ornaments found in the tombs 
 of Coraeto. 
 
 7. Another fragment from the same tomb, representing 
 combatants. The subterranean tombs represented in these 
 two plates, give but a faint idea of the immense number found 
 beneath the site of the ancient Tarquinia, which is about 
 fourteen miles from Civita Vecchia and three miles from 
 Coraeto, a small modem town built with the ruins of the 
 ancient city. They are excavated in a white calcareous stone, 
 of which the hill is formed on which are found the ruins of the 
 ancient Tarquinia, and appear to have been executed when the 
 Etruscans had arrived at a high degree of perfection in the arts. 
 The pillars and ceiling of the tomb in pi. x., and ceiling of 
 pi. xi., are in imitation of constructed b uildin gs, 
 
—w 
 
 y >•/./, , /‘atotwrndti Ac . / fom£/r, Ac ’^fanfo rc/c/w’/'/c/cr c/c r/ftr/'r 
 
 
PLATE XII. 
 
 TOMB OF THE SCIPIOS ; CATACOMB OF ST. HERMES ; TOMB OF THIS SAINT CONVERTED TO AN ALTAR. 
 
 1. Plan and section of a sepulchral tomb excavated in the 
 tufo which belonged to the family of the Scipios, one of the 
 branches of the Cornelia; it was discovered in 1780, on the left 
 of the Via Appia, and near the Porta Capena, now St. Sebastian. 
 
 2. Heads in terra cotta, peperino, and bronze, found in the 
 tombs of the Scipios, probably portraits of these illustrious per¬ 
 sonages. 
 
 3. Sarcophagus of Lucius Cornelius Scipio Barbatus, in a 
 single block of peperino, with the exception of the top ; in the 
 state in which it was found on the spot marked A on the plan. 
 
 4. Plan of the lower story of another antique monument, 
 belonging to a Roman family. It is seen beneath .the Church 
 of St. Agnes outside the walls of Rome. 
 
 5. Section of the monument, showing the lower story, destined 
 for sepulture ; and the upper, a small temple consecrated to the 
 ashes of the dead. 
 
 6. Part of the external wall executed in brick; base and 
 capital of the angular pilasters in terra cotta. 
 
 7. Antique Sarcophagus, serving also for an altar, as shown 
 by the inscription. (Boissard, Antiq. Rom., vol. ii., p. 5, pi. cvii.) 
 
 8. Christian Sarcophagus found in the catacombs, which may 
 
 have had the same use ; now in the Palace Riminaldi, near the 
 Place Navona. 
 
 9. Plan and section of the chief part of the Catacomb of St. 
 Hermes, near Rome, on the Via Salara; at B is the staircase by 
 which it is approached, and at C the Chapel of St. Hermes. 
 
 10. Plan of the Chapel of St. Hermes, now called the Chapel 
 of the Apostles, from the paintings of the Apostles round the 
 arcliivolt of the arch at the end. 
 
 11. Tranverse section, showing the tomb of St. Hermes at 
 the end of the chapel. 
 
 12. Tranverse section towards the entrance, showing the 
 depth of the sepulchres on each side of the chapel. 
 
 13. Longitudinal section of the chapel, in which may be 
 remarked the fronts of the sepulchres excavated in the side 
 walls. 
 
 14. Another section, showing the opposite side. 
 
 15. Left side of the monument of St. Hermes, with the 
 section of the sarcophagus in which the body of the saint was 
 found. 
 
 16. Front view at large of the same monument. 
 
 17. Right side of the same. 
 
 Architecture D 
 
PLATE XIII. 
 
 CHAPELS AND ORATORIES OF THE CATACOMBS, THE FORMS OF WHICH, INTRODUCED IN CHRISTIAN 
 CHURCHES, HAVE SERVED TO MODIFY THOSE OF ANTIQUE ARCHITECTURE. 
 
 1. Chapel and tomb of St. Hermes, given in detail in pi. xii. 
 
 2. Chapel, taken from the Cemetery of St. Calixtus, near 
 the Church of St. Sebastian. Here may be remarked a slab of 
 marble, pierced (a jour), usually placed before the tomb of a 
 martyr to preserve it. (Boldetti, Osservazioni sopra i Cimeterj, 
 &c., vol. i., chap. 9, pi. xxxiv.) 
 
 3. Another Chapel, from the Cemetery of St'. Helena, the 
 roof sustained by four columns, cut out of the tufo; in the 
 centre an isolated altar. (Ibid, vol. i., chap. 4, p. 14, pi. ii.) 
 
 4. Another Chapel or Oratory, from the Cemetery of St. j 
 Agnes, outside the walls of Rome. Round the sides are arched I 
 tombs, and serving as altars ; at the end is an episcopal chair. 
 (Ibid, vol. i., chap. 4, p. 15, pi. ii.) 
 
 5. Plan and section of the Subterranean Church of St. 
 Hermes, taken from the catacomb bearing the name of this 
 saint. 
 
 6. Plan of the subterranean chapel, called Confession,* 
 under the high altar of S“* Praxeda, at Rome, part of the | 
 habitation of the saint. 
 
 7. General plan of the Church of S“- Praxeda, at the Baths of 
 Noratus, in the Vicus Lateritius, near S'“- Maria Maggiorc, with 
 the court in front, and the staircase by which it is reached. 
 
 8. Tomb of the Emperor Frederic II., in the Cathedral of 
 Palermo. (I regali sepolcri del duomo de Palermo reconos- 
 ciuti e illustrati ; Napoli, 1784, in fol.) 
 
 9. Plan of the Subterranean Church of St. Prisca, near 
 Rome, on the Mount Aventine. 
 
 10. Two sections of the Subterranean Church of St. Prisca. 
 
 11. The same, on a larger scale. 
 
 12. General plan of the upper Church of St. Prisca. 
 
 * So called, because it was erected over the spot where the saint by his 
 martyrdom had made confession of faith. 
 
 13. Transverse section of the upper and lower Churches 
 of St. Prisca. The chamber of the saint has been preserved, and 
 in the centre is her tomb, forming the altar, shown on a larger 
 scale at No. 16. 
 
 14. Longitudinal section, showing the same Churches. 
 
 15. The modern front of the Church. 
 
 16. Tomb of St. Prisca. 
 
 17. Tabernacle of the Church of St. Nereus and Achilleus, 
 near the Baths of Antoninus and Caracalla at Rome. 
 
 18. Plan and section of the oratory of a small church 
 founded at the Baths of Novatus in honour of S. Silvestro, 
 imder the old title of Equitius, near and above which was 
 erected the Church of S. Silvestro and S. Martino ; it is 
 reached by a staircase, marked A, which is a continuation of 
 the staircase shown in No. 19. 
 
 19. Plan of the Confession, placed imder the choir of the 
 Church of S. Silvestro and S. Martino. 
 
 20. General plan of the Church of S. Silvestro and S. 
 Martino. 
 
 21. Tomb of Godefroi de Bouillon, placed in a chapel of 
 the Church of Mount Calvary, at Jerusalem. (Trattato delle 
 Piante, e imagini de’ sacri edilizi, de Terra Santa. Padre Ber- 
 nadino Amico ; Firenze, 1620; in fol., pi. xxviii.) 
 
 22. Architectural Instruments found in the Catacombs. 
 (Roma Sotteranea, vol. ii., p. 260.) 
 
 23. Plan of the Chinch of St Pancratius, outside the walls of 
 Rome, and near the gate of that name. The staircase, which 
 descends to the Confession, may be seen. 
 
 24. Part of the longitudinal section of the Church, showing 
 the Confession. 
 
 25. Transverse section of the Church. 
 

/Z/S. 
 
PLATE XIV. 
 
 PLAN OF THE CHURCH OF S. MARTINO AI MONTI AT ROME. EXAMPLE OF A CHURCH ERECTED 
 SUBTERRANEAN ORATORY. FOURTH CENTURY. 
 
 1. General plan of the Church of S. Silvestro and S. Martino ai Monti, erected over the Oratory 
 S. Silvestro. 
 
 2. Enlarged plan of the Confession. 
 
 3. Plan of the ancient Church of S. Silvestro, at the side and below the Confession. 
 
 4. Section of the Oratory of S. Silvestro. 
 
 5. Portion of an antique comice, preserved in the Church of St. Nereus and Achilleus. 
 
 OYER A 
 
 of 
 
PLATE XVI. 
 
 THE CHURCH OF ST. CLEMENT AT ROME. THE BEST PRESERVED MODEL OF THE ARRANGEMENT OF THE 
 PRIMITIVE CHURCHES. FIFTH CENTURY. 
 
 1. General plan of the church, on which may be seen all the 
 parts of which the ancient Christian churches were ccmposed, 
 indicated under the following numbers. 
 
 2. Ante-portico, or porch. 
 
 3. Atrium, or court ; under which the penitent, and those who 
 had fallen away from the faith, demanded the prayers of the 
 passers by. 
 
 4. One of the side aisles, in which were the men, the cate¬ 
 chumens, and the newly converted. 
 
 5. Aisle on the right for the women, narrower than the other. 
 
 6. Space enclosed with a low wall of marble, within which 
 were the acolytes, the exorcists, and other functionaries of the 
 minor orders. 
 
 7. Sanctuary terminated in a semicircle, round which is the 
 bench for the priests with the episcopal seat ; in the centre an 
 isolated altar, and in front the Confession. 
 
 8. General section of the Church of St. Clement. 
 
 9. Part of the low wall or dado forming the enclosure of the 
 choir of St. Clement. 
 
 10. Another portion of the same. 
 
 11. Detail of the interlacings and other ornaments of the 
 
 dado. Montfaucon gives a view of it. (Diarium Italicum, 
 p. 134.) 
 
 12. Prof le of the marble pulpit for the reading of the 
 Epistle. 
 
 13. Front of the ambon, destined for the reading of the 
 Gospel, accompanied by the column on which was, and is still, 
 placed the paschal candle. 
 
 14. Monogram five times repeated amongst the ornaments of 
 the dido, believed to have been of one of the popes who restored 
 this church in the ninth century—Nicholas I., or John VIII., 
 according to Vignoli, who in the Recueil des Monnoies pontifi¬ 
 cales, gives several medals with this same monogram. 
 
 15. Interior view of the Church of St. Clement, where 
 are seen united the tabernacle, or ciborium, which covers the 
 altar ; the marble dado round the choir ; the ambons and their 
 pulpits ; and the columns serving as candelabra for the paschal 
 candle. 
 
 On the histoiy of this church may be consulted De S“- 
 Clemente Papâ et martyre, ejusque basilica, libri duo, auctore 
 Philippo Rondinino Faventino; Romæ, 1706, in 4to. See also 
 Ciampini, Vetera Monimenta, vol. i., chap, ii., p. 13. 
 
 Architecture E 
 
PLATE XVII. 
 
 PALACES, CHURCHES, AND OTHER CONSTRUCTIONS, OF THE TIME OF THEODORIC, AT TERRACINA, 
 AND AT RAVENNA. FIFTH AND SIXTH CENTURIES. 
 
 1. View of the mountains of Terracina, the ancient Anxur, 
 on the summit of which are seen the ruins of the Palace of 
 Theodoric. 
 
 2. Plan of the substructions or terrace walls of the Palace 
 of Theodoric. 
 
 3. General elevation of the same. 
 
 4. Transverse section of the same. 
 
 5. Elevation of one of the arches. The coins, imposts, and 
 arches worked with care ; the rest of the construction in rubble- 
 work or opus incertum. 
 
 6. Profile of the moulding at springing of the arches. 
 
 7. Plan and elevation of the square towers of the enclo¬ 
 sure of Terracina, built by order of Theodoric. 
 
 8. Plan and elevation of a round tower, from the same. 
 
 9. Plan of part of an edifice near the Palace of 
 Theodoric. 
 
 10. Remains of an ancient temple, near Upsal, in Sweden, 
 consecrated to Odin. Its construction greatly resembles the 
 towers of Terracina. (Monumenta Uplandica, &c., 2 vols, in 
 fol. ; Stockholmiæ, 1710 and 1719, part i., p. 152-162.) 
 
 11. Façade of a palace, said to have been built by Theo¬ 
 doric, as represented in a mosaic of the Church of St. Apolli- 
 narius at Ravenna. Ciampini (Vetera Monimenta, vol. ii., 
 p. 62, pi. xxvi.) doubts this fact; but Zerardini, who gives 
 this façade with more detail and exactitude in his treatise 
 Degli Antichi Edifizj profani di Ravenna, p. 117, is satisfied 
 of it. 
 
 12. Entrance of the Convent of the Franciscans at Ravenna, 
 supposed to have been the Palace of Theodoric. The style 
 bears great resemblance to the Palace of Diocletian at Spolatro, 
 engraved at plate ii., No. 2. On the right is a Sarcophagus of 
 
 porphyry, supposed to be from the Mausoleum of Theodoric, 
 and shown at large in No. 15. 
 
 13. Ornament of the capital of one of the pilasters of the 
 entrance doorway. 
 
 14. Capital of one of the columns from the centre arcade of 
 the upper - story. These capitals, with a third from the same 
 façade, are represented on a larger scale, and in their chronolo¬ 
 gical order, pi. lix., Nos. 4, 5, 6. 
 
 15. Sarcophagus of porphyry, mentioned at No. 12. 
 
 16. Plan of an octagonal baptistery, used by the Arians of 
 the time of Theodoric, and now part of the modem Oratory of 
 S“- Maria at Ravenna. (Fabri, Memorie sagre di Ravenna 
 antica, in 4to., 1664.) 
 
 17. Plan of the Church of St. Apollinarius, at Ravenna, 
 built by Theodoric. 
 
 18. Section of the same. One of the columns is given on 
 plate lxviii., No. 4. 
 
 19. Transverse section of the same. 
 
 20. One of the capitals, from the nave ; on the block above 
 is a cross, carved in relief 
 
 21. Another capital, with a small cross engraved on it. 
 This capital is given with the base of the column, plate lix., 
 No. 7. 
 
 22. Part of the comice, enriched with modillions, which 
 surrounds the choir of the Church. 
 
 23. Ancient seal of the city of Verona, which is supposed 
 to represent the Palace of Theodoric in that city. Besides the 
 word Verona, inscribed on the façade ; round the seal are these 
 words, half Roman and half Gothic, and separated by across:— 
 Est justi latrix urbs hæc et laudis amatrix. (Maffei, Verona 
 illustrata, vol i., book 9.) 
 
PLATE XVI II. 
 
 MAUSOLEUM OF THEODORIC AT RAVENNA, NOW S TA - MARIA DELLA ROTONDA. 
 SIXTH CENTURY. 
 
 1. Plan of the lower story. 
 
 2. Plan of the upper story with the two staircases. 
 
 3. Elevation of the Mausoleum on the side of the entrance. 
 The arches of the lower story are peculiar in construction ; the 
 stones are dovetailed into each other, as shown more at large, 
 pi. lxxi., No. 37. 
 
 4. Section through the entrance, showing the two stories. 
 
 5. Plan of the dome, thirty-six feet in diameter, of a single 
 block of stone, from the quarries of Istria. The twelve handles 
 at the side have served to suspend and elevate this enormous 
 block ; on the centre are six holes, by which is supposed to 
 have been fixed the Sarcophagus which contained the heart of 
 Theodoric, engraved at No. 15 of the last plate. 
 
 6. Impost moulding of the arches of the lower story, and 
 architrave of the entrance door. 
 
 7. Profile of the same. 
 
 8. Architrave and comice of the doorway to upper story. 
 
 9. Profile of the same. 
 
 10. Ornaments and profile of the mouldings of the panels 
 under the arches of the upper story. 
 
 11. Elevation and section of the band under the dome. 
 
 12. Profile and ornaments of the external cornice. 
 
 13. Egyptian comice, given by Pococke (vol. i., pi. lxix.), 
 which offers some analogy to the above. 
 
 14. Profile of another Egyptian cornice, taken also from 
 
 Pococke. 
 
PLATE XX. 
 
 ANCIENT TEMPLE OF THE CAFFARELLA, TWO MILES FROM ROME, OUTSIDE THE GATE OF ST. SEBASTIAN, AND 
 ABOVE THE FOUNTAIN OF EGERIA. ONE OF THE EARLIEST EXAMPLES OF A PAGAN TEMPLE 
 CONSECRATED TO THE CHRISTIAN RELIGION. FOURTH CENTURY. 
 
 1. Plan of the temple: at A is the small subterranean 
 oratory added to this temple when it was converted to a 
 church under the title of St. Urban ; the section of it is seen at 
 F, No. 6 ; the letters BBB show a brick wall partly in ruins, 
 formerly the enclosure of the temple. 
 
 2. Front elevation of the temple. 
 
 3. Side elevation of the temple. 
 
 4. Longitudinal section of the temple. 
 
 5. Longitudinal section of the portico. 
 
 6. Transverse section of the cella, and through the small 
 subterranean oratory F ; it is in this oratory we find an ancient 
 fresco painting, representing the Virgin, St. John, and St. 
 Urban, given in pi. x., No. 10, of vol. iii. 
 
 7. Details of the Corintliian order of the façade : the base A 
 and capital B, as also the architrave, are in marble ; the enta¬ 
 blature, the attic D, and comice E, are in brick. 
 
 8. Section of the comice, showing the arrangement of the 
 bricks. 
 
 9. Part of the profile of the raking cornice of the pediment. 
 
 10. Details of the inner order of the portico : the base A and 
 capital B in marble, of the pilasters at the angles of the portico 
 and cella marked G G ; the architrave C also in marble ; and 
 the profile of the comice D on the interior and exterior of the 
 portico. 
 
 11. Brick cornice over the columns and pilasters in the 
 interior of the portico. 
 
 12. Another small cornice in brick, shown at L, in the side 
 elevation No. 3. 
 
 13. General cornice of the temple. 
 
 14. Section of the same. 
 
 15. Octagonal panel from the centre of the vaulting, on 
 which may be observed the remains of a bas-relief in stucco, 
 representing a man and a woman; other remains show that 
 all the panels Avere similarly decorated in stucco. 
 
 16. Ornament in terra cotta, called in Latin antefixa. 
 
 17. Section of the antefixa. 
 
 18. Plan and section of one of the tiles employed in the 
 covering of the temple. 
 
 19. Stamp in the centre of the tile, as seen in No. 18, in the 
 middle a cypher, round which is the folioAving inscription :— 
 
 OPVS DOL AELI ASCLEPI EX PR FAVSTINAE FIGLIN PONTICI 
 
 20. Ancient altar of a circular form found near the temple, 
 now under the portico supporting the stoup for holy water ; an 
 inscription in Greek shows that it was consecrated to Bacchus 
 by Apronianus, priest and interpreter of his mysteries; the 
 hooded serpent which Avinds round it is also an emblem of 
 Bacchus. 
 
 21. One of the stucco friezes of the cella, beneath the 
 panels of the vault, as shoAvn in No. 4. 
 
 Piranesi has given complete details of this temple in his 
 work Racolta de’ Tempj Antichi ; Roma, 1780, first part. 
 
PLATE XXL 
 
 ST. PETER IN CHAINS. EXAMPLE OF A CHURCH CONSTRUCTED WITH ANTIQUE COLUMNS. 
 FIFTH CENTURY. 
 
 1. General plan of the Church of St. Peter in chains, 
 founded about the year 442, under Pope St. Leo, by the 
 Empress Eudoxia, wife of Theodosius the younger; it was 
 restored in the eighth century by Adrian I., and successively 
 by Popes Nicholas V., Sixtus IV., and Julius II., whose mauso¬ 
 leum still forms the principal ornament. At pi. xlvi. of vol. ii. 
 may he seen Michael Angelo’s fust idea of this monument, and 
 on pi. xlvii. the celebrated statue of Moses. 
 
 2. One of the twenty antique columns of the Doric order, in 
 white marble, which decorate the nave ; it is not known from 
 what edifice they were taken. 
 
 The section of this church, as restored under Adrian I., in 
 the eighth century, is given at pi. xxv., No. 1. 
 
 3. Plan of one quarter of the column, and profile of the 
 capital ; it differs slightly from the capitals of the columns seen 
 
 in Greece, Pæstum, and Sicily, in the three beads at the necking, 
 instead of the usual fillets. 
 
 4. Column of one of the temples of Pæstum, only four 
 diameters higli ; one of the shortest columns known of the 
 Greek Doric order. 
 
 5. Column of the Temple of Theseus, at Athens, six dia¬ 
 meters high. 
 
 6. Antique Doric column of the Church of St. Peter in 
 chains, eight diameters high ; example of the proportion which 
 the Romans gave to the Greek Doric order in the edifices 
 which they erected, such as the Temple of Cori in Italy, and 
 at Athens the portico of the building commonly called the 
 Temple of Augustus. (Le Roi, Ruines des plus beaux Monu- 
 mens de la Grèce, part ii., pl. xv., p. 14.) 
 
PLATE XXII. 
 
 ST. STEPHEN THE ROUND AT ROME. EXAMPLE OF AN ANTIQUE EDIFICE CONVERTED TO A CHURCH. 
 FIFTH OR SIXTH CENTURY. 
 
 1. Plan of the Church of St. Stephen on Mount Ccelius at 
 Rome. This edifice, consecrated to the Christian religion by 
 Pope Simplicius I. in the year 470, and decorated by his suc¬ 
 cessors John I. and Felix IV. in the sixth century, has been 
 several times restored, particularly in the twelfth centmy, under 
 Innocent II., and in the fourteenth century, under Nicholas V. and 
 Innocent VIII : it is here represented in its present state. The 
 entrance is by the porch D. The parts of the first external 
 enclosure, marked B and C, are now gardens ; the remainder 
 is occupied by chapels, sacristies, and other dependencies. The 
 high altar A is in the centre of the edifice. There are above sixty 
 columns, most of them of granite, but of unequal proportions. 
 
 2. Section of the church on the line B A B of the plan. 
 
 3. Elevation of the exterior on the line B C B of the plan. 
 Above the arches supported by the columns, at D D, may be 
 seen the remains of the vaulting which formerly covered this 
 portion of the enclosure, shown more clearly at No. 5. 
 
 4. Perspective view of the interior. 
 
 5. Detail of the construction of wall of enclosure B C B on 
 plan. We may remark some capitals of the columns built 
 in with the wall when the edifice was enclosed to form a church. 
 Above the arches are seen the commencement of the vaulting 
 which covered the enclosure : this vault was formed of small 
 vases or tubes of terra cotta. 
 
 6. Plan and figure of one of these tubes of terra cotta ; it is 
 from six to seven inches long and three inches in diameter—the 
 exterior surface spirally channeled to give greater hold to the 
 mortar. On pi. lxxi. are collected several examples of the 
 different kinds of tubes employed in the ancient edifices ; and 
 in the cupola of the Church of St. Vitali at Ravenna we have 
 an example of then - use during the decline of ar t. 
 
 7. Comice and modillions of tire upper circular tower in the 
 centre. 
 
 8. Base and capital of one of the columns of the interior of 
 the church—an imperfect kind of Ionic. 
 
 9. Base and capital of a Corinthian column, more regular, 
 with a cross carved on the impost: this column is seen built 
 in the wall at No. 5. 
 
 10. Entablature of the inner range of columns, as seen in the 
 perspective view. 
 
 11. General plan of the building, in its original state. The 
 four great divisions marked C were covered, and the divisions 
 marked B uncovered : an appropriate arrangement for a public 
 market, which it is supposed tins building formerly was. The 
 second enclosure D D, a covered gallery for the purchasers, 
 and, at the same time, a vestibule to the circular temple A, 
 where there was probably a statue of Faimus, Bacchus, or the 
 Emperor Claudius. 
 
 12. Medal of Nero, which strengthens the opinion that tliis 
 edifice was a public market ; the reverse of the medal shows 
 a building of a double range of porticos, surmounted by a dome. 
 The building is approached by steps, on the border of which are 
 carved two fish, shown more in detail at No. 13; in the centre 
 a statue of Neptune, No. 14; and round the medal the inscrip¬ 
 tion mac. avg. s. c., Macellum Augusti senatus consulto. 
 
 13. Details of steps referred to above. 
 
 14. Statue of Neptune in the centre of the medal. 
 
 15. Lower part of an imperial statue found in the enclosure 
 of tliis edifice, supposed to be of the Emperor Claudius. At 
 pi. xvii. of the section Painting, vol. iii., No. 5, is given an 
 ancient painting in mosaic, from one of the chapels of tliis 
 church. 
 
PLATE XXIII. 
 
 CHURCH OF ST. VIT ALI AT RAVENNA, BUILT UNDER THE REIGN OF JUSTINIAN, AND FROM DRAWINGS 
 BROUGHT FROM THE EAST. SIXTH CENTURY. 
 
 1. Plan of the Church of St. Vitali ; its form octagon within 
 and without; the vestibule A is perpendicular to one of the 
 angles ; the entrance is at B, the choir at C ; the paving of the 
 centre is a modern work in precious marbles ; most of the sur¬ 
 rounding chapels are posterior to the foundation of the church. 
 
 2. Transverse section on the line B C of the plan ; at the 
 angles are eight large pillars which support the dome, and 
 between them seven semicircular niches, pierced with a 
 double range of columns. The dome is a circle inscribed in a 
 regular octagon, small arches at the angles serving as penden- 
 tives. Further details of the construction of the dome are 
 given in the following numbers, and also at pi. lxxi., No. 54, 
 and pi. lxvii., No. 5. At C is the choir, the walls and ceilings 
 of which arc adorned with paintings in mosaic, given at pi. xvi., 
 Nos. 8, 10, and 12 of the section of Painting, vol. iii. 
 
 3. Section on a larger scale of the cupola, showing its con¬ 
 struction ; the lower part A A of the vault, from the springing to 
 the summit of the arches, of about twelve feet high, is constructed 
 of ranges of vases of terra cotta, in the form shown No. 6 ; these 
 vases are placed perpendicularly one over the other, the point of 
 the upper in the mouth of the lower ; the remainder of the 
 dome is constructed with small tubes of terra cotta, shown 
 No. 5, placed almost horizontally, one within the other, and 
 forming a spiral line from the base to the summit ; these are 
 also strengthened by another line of the same tubes, as well as 
 several layers of the vases placed upright ; the inside and the 
 outside are covered with mortar. 
 
 4. Plan of the dome, showing the spiral line of the tubes. 
 
 5. Two of the terra cotta tubes, seven inches long, and two 
 inches diameter; they very much resemble those of St. Stephen 
 the round. 
 
 6. Vases of terra cotta used at A B, twenty-two inches high, 
 and eight inches diameter. 
 
 This mode of construction is not peculiar to the Church of 
 St. Vitali at Ravenna ; it may also be seen at the ancient 
 baptistery of the cathedral, and at the much more modem 
 church, S'°- Maria in porto. 
 
 7. Columns of the semicircular niches, the dotted line 
 shows the level of the present ground ; these columns are also 
 given in their chronological order, pi. lxviii., Nos. 8, 9, 10. 
 
 8. Detail of one of the capitals of the column shown in the 
 preceding number; the capitals of the columns of this church are 
 very varied ; two others may be seen in pi. lxix., Nos. 14 and 15. 
 
 9. Monogram carved on the impost of the capital, No. 8. 
 There are several monograms of this kind in different parts of the 
 church, in which may be recognised the names of Narses, Justi¬ 
 nian, Neo, bishop of Ravenna, Julian, treasurer of the Empire, 
 to whom is attributed the construction of the church, and others 
 mentioned by Montfaucon, in his Diarium Italicum, cap. vii. 
 
 10. Plan of an edifice, commonly called the temple of 
 Minerva medica, at Rome. 
 
 11. Plan of an ancient edifice, in form a dodecagon, still 
 seen at Canosa, in the province of Trani, of the kingdom of 
 Naples ; it is the antique Canusium. Tliis plan, as also that of 
 the preceding numbers, are here compared with that of St. 
 Vitali, the analogy to which is apparent. 
 
PLATE XXIV. 
 
 FORM OF THE CHURCHES AND STYLE OF THE ARCHITECTURE IN ITALY, DURING THE REIGN OF THE LOMBARDS. 
 SIXTH, SEVENTH, AND EIGHTH CENTURIES. 
 
 1. One of the capitals of the interior pillars of the Church 
 of St. Julia, near Bergamo, also given in chronological order, 
 pi. lxix, No. 17. 
 
 2. Elevation of the end of the church, showing the termi¬ 
 nations of the nave and side aisles. 
 
 3. Transverse section, showing the interior of the apsis 
 which terminate the nave and side aisles. 
 
 4. Longitudinal section, showing what remains of the nave 
 of the church. 
 
 5. Plan of the Church of St. Julia. 
 
 6. Drawing, at large, of the doorway of the Church of 
 St. Michael at Pavia, marked A, No. 7. 
 
 7. Elevation of the Church of St. Michael. 
 
 8. Section of the same ; the construction of the doorway is 
 worthy of remark, as also the subterranean church under the 
 choir. 
 
 9. Plan of the Church of St. Michael. 
 
 10. Capital from the interior of the Church of St. Michael, 
 with eagles at the angles. 
 
 11. Another capital from the same; a figure of a saint 
 embracing two palm trees. 
 
 12. Another capital -with Adam and Eve, and the Serpent. 
 
 13. Another capital with foliage. 
 
 14. Another capital and base from the same. 
 
 15. Façade of the Church of St. Michael; it is remarkable 
 for the coupled columns, and for the small arched gallery within 
 the thickness of the wall parallel with the line of roof, which 
 are features in the architecture of the period, and observed also 
 in St. John in borgo of Pavia, engraved pi. lxiv., No. 6. On 
 the lower part of this façade are friezes in bas-relief, one of 
 which, representing the Annunciation of the Virgin, is engraved 
 in the section of Sculpture, vol. ii., pi. xxvi., No. 5. 
 
 16. Plan of the Church of St. Thomas in limine at Bergamo, 
 constructed by order of the Lombard kings. 
 
 17. Longitudinal section of the same. 
 
 18. One of the capitals from the interior of the church, with 
 its base. On the four angles of the capital are an eagle, an ox, 
 and the other symbols of the Evangelists. 
 
 Architecture G 
 
PLATE XXV. 
 
 IMPROVED STATE OF ARCHIECTTURE IN ITALY UNDER CHARLEMAGNE IN THE NINTH, AND THE PISANS IN 
 THE TENTH AND ELEVENTH CENTURIES. 
 
 EIGHTH CENTURY. 
 
 1. Longitudinal section of the Church of St. Peter in 
 chains, Rome, as reconstructed on its original plan, by Adrian 
 I. ; eighth century. 
 
 2. Plan of the same. 
 
 3. Side elevation of the Church of St. Vincent and Anasta- 
 sms at the three fountains near Rome, outside the gate of St. 
 Paid. According to Ciampini (Vetera Monimenta, vol. i., 
 p. 72), this church was rebuilt by Pope Leo III., under the 
 reign of Charlemagne in the eighth century. The façade is 
 given in its chronological order, pi. lxiv.. No. 16. 
 
 4. Longitudinal section of the Church of Sts. Vincent and 
 Anastasius ; the detail of one of the arches of the nave is given 
 at pi. lxv., No. 15. 
 
 5. Plan of the same ; the construction of the wads is given 
 at pi. bod., No. 21. 
 
 6. Longitudinal section of the Church of St. John a porta 
 latina, at Rome, reconstructed by Adrian I. in the eighth 
 century ; one of the columns of the nave is given at pi. lxviii 
 No. 13. 
 
 7. General plan of the church. 
 
 NINTH CENTURY. 
 
 8. Longitudinal section of the Church of the Apostles, 
 Florence, budt by order of Charlemagne in the ninth century. 
 
 9. Plan of the same ; it resembles the Church of St. Michael 
 in Saxia at Rome, engraved at No. 13. Vasari cites this 
 church as an example of the momentary amelioration which 
 Architecture received at that period ; and he adds, that at the 
 revival of Architecture the celebrated Brunelleschi studied its I 
 proportions (Vasari, Vite de’ Pittori, &c., vol. i.,p. 75.) On com- j 
 paring the Church of the Apostles with the Churches of St. 1 
 Laurence and of the Holy Ghost, built by Brunelleschi (engraved I 
 plates xlvii., xvliii.), a strong analog)' may be seen both in plan ! 
 and elevation. 
 
 10. View of the interior of the Basilica in honour of the 
 Virgin, built by Charlemagne at Aix-la-Chapelle, 802, and 
 consecrated by Pope Leo HI. in person. (Ciampini, Vetera 
 Monimenta, vol. ii., c. xxii., p. 129.) The roof is ornamented 
 with paintings in mosaic, part of which are given at pi. xvii. of 
 the section of Painting, No. 12. 
 
 11. Elevation of the basilica. 
 
 12. Plan of the same ; in its octagonal form a resemblance 
 may be traced to St. Vitali of Ravenna. 
 
 13. Plan of St. Michael in Saxia at Rome, built in the 
 ninth century by Charlemagne ; in form and arrangement it 
 much resembles the Church of the Apostles at Florence. 
 
 14. Plan of the Church of St. Cecilia in Trastevere, at 
 Rome, reconstructed in the ninth century, in 817, by Pope 
 Pascal I. In plate xvii. of the section of Painting, vol. iii., is 
 given the painting in mosaic which ornaments the semi-dome of 
 the apsis of this church. 
 
 15. One of the capitals of the nave of the Cathedral of Pola 
 in Istria; ninth century: this capital was probably taken from 
 some ancient building. 
 
 16. Another capital from the same nave, repeated in its 
 chronological order, pi. Lxix, No. 20. Nos. 21 and 22 of the 
 same plate are also capitals taken from this church. 
 
 17. Transverse section of the Cathedral of Pola. 
 
 18. Longitudinal section of the same; the columns are 
 antique, and the arches are peculiar in form, as may be seen at pi. 
 lx' ., No. 14. One of the columns is also given, pi. lxviii., No. 17. I 
 
 19. Plan of the same. An inscription, formerly over the 
 principal door, and now on the right external wall of the church, 
 gives the date of the construction of this church, 857. 
 
 ELEVENTH CENTURY. 
 
 20. Plan of the Church of St. Miniato al monte near Florence, 
 rebuilt at the commencement of the eleventh century, in the 
 year 1013, by Bishop Hildebrand, and under the reign of the 
 Emperor St. Heniy. 
 
 21. Details of one of the transparent marble slabs of the 
 five large windows of the apsis of this church used in the place 
 of glass. This marble is a kind of violet Breccia, the white parts 
 only being perfectly transparent, the violet parts opaque. 
 Targioni imagined it to be the phengites of Pliny. These slabs 
 are in a single piece, ten feet high, two and a half feet wide, and 
 
 several inches thick ; they are fixed, not made to open. It appears 
 that formerly the three small windows of the same were furnished 
 with similar slabs, as also the two large arcades now walled up, 
 which are seen between the three entrance doors of the façade 
 of the church, No. 28. The cathedral of the island of Torcello 
 has also windows of this kind, one of which is shown at No. 30. 
 This manner of lighting the sacred edifices, a great many 
 examples of which still exist in the ancient churches of Tuscany, 
 and in still greater numbers in the East, was probably imitated 
 from the antique. 
 
 22. Profile of the entablature round the choir and apsis, 
 above the arcades shown in section No. 27. 
 
 23. Longitudinal section with the Confession under the 
 choir. 
 
 24. Base and capital from the interior of this church, and 
 which may be seen pi. lxix., No. 30. Most of these capitals are 
 unequal, and appear to be taken from more ancient buildings ; 
 some of them are antique, and amongst those of the choir is 
 a very fine composite capital. 
 
 25. Portion of the cornice round the upper part of the 
 façade, No. 28. 
 
 26. Plan of the subterranean church, or Confession, under 
 the choirs of St. Miniato : it is supported by a number of small 
 columns which appeal- to be antique. 
 
 27. Transverse section of the church. The semi-dome of 
 the apsis is adorned with paintings in mosaic, amongst them a 
 head of the saviour, engraved pi. xviii., No. 3, in the section of 
 Painting, vol. iii. 
 
 28. Façade of St. Miniato engraved on a larger scale, 
 pi. lxiv., No. 11. The decorations of the façade, of the interior 
 of this church, and above all of the apsis, very sensibly resemble 
 the Church of the Apostles at Florence, Nos. 8 and 9, and the 
 baptistery of St. John of the same city, the façade of which 
 is engraved pi. Lxiii., No. 6. 
 
 29. Longitudinal section of the Cathedral of Torcello, one 
 of the islands of the lagunes of Venice: it was rebuilt at the 
 commencement of the ninth century by Orso, son of Doge Pietro 
 Orseolo. One of the columns is engraved on a larger scale, 
 pi. lxviii., No. 16. 
 
 30. Detail of one of the windows of alabaster or transparent 
 marble from the window of the Cathedral at Torcello, forming 
 at the same time windows and shutters ; windows of the same kind 
 as those of St. Miniato, before described No. 21, which were fixed, 
 in consequence of their great size, whilst these, being smaller, 
 have been mounted on hinges to open and shut. 
 
 31. Plan of the Cathedral of Torcello. The arrangement 
 of this plan recalls those of the primitive churches: eighteen 
 
PLATE XXV. — (Continued.) 
 
 columns of Greek marble divided it into three naves, each termi¬ 
 nated by an apsis, the centre forming the presbytery, surrounded 
 by semicircular rows of steps the seats for the priests; the 
 pavement is in mosaic ; the baptistery is situated in front of the 
 principal entrance to the church, separated simply by a vestibule 
 common to the two buildings. 
 
 32. Longitudinal section of the Cathedral of Pisa, erected in 
 the eleventh century. Details at large of a base and capital 
 from this cathedral may be seen at pi. lxix, No. 29 ; and a 
 column, pi. lxviii., No. 23 ; and a cupola, pi. lxvii., No. 8. 
 
 33. Plan of the Cathedral of Pisa, work of Buschetto a 
 Greek architect, in the disposition of which the first dawn of a 
 revival of art in these countries is seen : the façade is engraved 
 pi. lxiv., No. 10. 
 
 34. General view of the Cathedral of Pisa, the leaning 
 tower, and the baptistery, all works of the twelfth century. In 
 the background is seen part of the Campo Santo, a work of the 
 thirteenth century. The baptistery is given more at large 
 pi. lxiii., No. 20. On the history of these works consult “ Pisa 
 Illustrata nelle arte del disegno, da Alexandra da Marrona 
 patrizio Pisano in 8vo., 3 vols. ; Pisa, 1787, 1792, 1793, e il 
 compendio 1798.” 
 
 35. Plan of the Church of St. Ciriaco, Cathedral of 
 Ancona, built at the end of the tenth or commencement of 
 the eleventh century. The plan, in form of a Greek cross, with 
 a cupola in the centre, offers an analogy with St. Sophia of 
 
 Constantinople and St. Mark of Venice, engraved in the 
 following plate. 
 
 36. Transverse section of the church across the transepts, 
 and through the lower chapels on each side. The columns are 
 of the stone of the county: drawn at large, pi. lxviii., No. 21, 
 and the bases and capitals, pi. lxix., No. 28. 
 
 37. Side elevation of the Church of St. Ciriaco. 
 
 38. Development of one of the pendentives of the cupola : 
 this cupola is given pi. lxvii., No. 10. 
 
 39. Detail of the roof. 
 
 40. Plan of the Church of St. Paul at Pistoia in Tuscany ; 
 eleventh century. 
 
 TWELFTH CENTURY. 
 
 41. Plan of the Church of St. Andrea at Pistoia, twelfth 
 century. On pi. xxvii., No. 1 of the section Sculpture, vol ii., 
 is a bas-relief taken from this church, representing the Adoration 
 of the Magi. 
 
 GREEK CHURCHES. 
 
 42. Plan of the Greek Church of St. Nicholas in the island of 
 Samos, from Pococke’s Description of the East; London, 1743, 
 vol. ii., pi. lxi. 
 
 43. Plan of the Church of St. Mary of the five towers, at 
 San Germano, at the foot of Mount Cassino ; eighth century. 
 
 44. Elevation of the apsis of St. Mary of the five towers. 
 
 45. Plan of the Church of St. Anne at Nicæa in Asia Minor, 
 in the eighth century, at the epoch of the second council held 
 in this city. (Pococke, Ibid, vol. ii., pi. lx.) 
 
 PLATE XXVI. 
 
 THE CHURCH OF ST. SOPHIA AT CONSTANTINOPLE, ST. MARC AND OTHER CHURCHES AT VENICE, IN THE MODERN 
 GREEK STYLE. TENTH AND ELEVENTH CENTURIES. 
 
 1. Plan of the Church of St. Sophia, erected in the sixth 
 century, by the Emperor Justinian. 
 
 2. Elevation of St. Sophia; the perspective view of the 
 interior is given, No. 13, on the following plate; and plan and 
 section of the cupola, pi. lxvii., No. 4 ; and a base and capital, 
 pi. lxix., Nos. 9 and 10. 
 
 3. Plan of the Church of S la - Fosca at Torcello, one of the 
 islands of the lagunes of Venice. On three sides it is surrounded 
 by a portico, with arches on columns, some of which are round, 
 and the others octagon on plan. 
 
 4. Transverse section of the church and portico. 
 
 5. Elevation of the same. 
 
 6. Base and capital from this church, drawn at large, pi. 
 lxix., No. 23. 
 
 7. Small comice over the column in the interior of S ,a - Fosca. 
 
 8. Plan of the Church of St. Catherine on the island of 
 this name, one of those of the Port of Pola in Istria. 
 
 9. Transverse section of the Church of St. Catherine, through 
 the two side chapels. 
 
 10. Front elevation of the church. 
 
 11. Small frieze, coarsely executed over the entrance door; 
 see elevation. 
 
 12. Impost, in the interior of the church, of better style and 
 execution, from which we may presume it was taken from some 
 ancient edifice. 
 
 13. Plan of the Church of St. Mark, at Venice, erected in 
 the tenth century, under the Doge Oseolo I. 
 
 IT Transverse section of St. Mark. The cupola is repro¬ 
 duced pi. lxvii, No. 7 ; the bases and capitals of the two orders 
 of the interior, pL lxix., Nos. 24 and 25. 
 
PLATE XXVII. 
 
 GENERAL VIEW OF THE DECLINE OF ARCHITECTURE IN THE EAST. 
 
 1 . Plan and section of the portico of the Temple of the Sun 
 at Palmyra ; this edifice, built in the third century under 
 Aurelian or Diocletian, marks the commencement of the decline 
 of art in the east. (The Ruins of Palmyra ; London, 1753, pi vi.) 
 
 2. Details of the principal doorway. 
 
 3. Half the plan of another building at Palmyra, supposed 
 to have been built by Diocletian. (Ibid, pi. xliv.) 
 
 4. Plan of the church of the Monastery of Mount Sinai, 
 built by orders of Constantine, or St. Helena his mother. 
 (Pococke’s Travels in the East, vol. i., pi. lvi.) 
 
 5. Plan of the Church of Bethlehem, dedicated to the Virgin 
 by St. Helena. (Bernardo Amico, Trattato de' sacri edifizj di 
 Terra Santa ; Firenze, 1620, pi. iii.) 
 
 6. The burnt column, erected at Constantinople by Con¬ 
 stantine, near the forum bearing his name. It is formed of 
 eight blocks of porphyry, and the joints covered by bands of 
 laurel leaves, in bronze. 
 
 7. Great cisterns, constructed by Constantine, near the 
 Church of St. Sophia, 336 feet long, 182 wide ; the walls and 
 vaulting are in brick, and well preserved, the latter supported 
 on 336 marble columns, in twelve rows in breadth, and 28 in 
 length. See Lettres sur la Grèce, l’Hellespont, et Constantinople, 
 in 8vo. ; Paris, 1811. 
 
 8. Triumphal arch, in ruins, at Salonica, formerly Thessa- 
 lonica, erected in honour of Constantine, above one of the bas- 
 reliefs on the piers. 
 
 9. One of the gates of Constantinople, called the Golden 
 Gate, built under the reign of Theodosius. (Comidas, De- 
 scrizione topografica di Constantinopoli, pi. xii., p. 35.) 
 
 10. View of an edifice taken from a bas-relief on the 
 Theodosian column at Constantinople, which exhibits the style 
 of architecture prevalent in the Grecian countries during the 
 fourth century. 
 
 11. Antique column of granite at Constantinople, near the 
 mosque of Mahomet II., supposed to be erected in honour of the 
 Emperor Marcian. (Spon, Voyage au Levant, vol. i., p. 225.) 
 
 12. Plan of St. Sophia, Constantinople, erected by the 
 Emperor Justinian in the sixth century. 
 
 13. View of the interior; one of the columns is drawn at 
 large, pi. lxviii., No. 6. 
 
 14. Plan of a Greek Basilica, taken from the work Gotho- 
 fredi Voigtii, Thysiasteriologia, sive de altaribus veterum Chris- 
 tianorum; Hamburgh, 1709, chap, xiii., p. 326. 
 
 This plan was imagined by the author of the above-mentioned 
 work to exhibit the distribution of the early Greek churches ; we 
 see the porticos, the nave and side aisles, the presbytery, the 
 
 tribune, and all those parts which in the first ages of Christi¬ 
 anity, and before the separating of the two churches, was the 
 general form of all Christian temples. 
 
 15. Circular prison, from a painting in a manuscript at the 
 Vatican, under the title of Menologe grec, No. 1613. Some 
 paintings from this manuscript, which is of the ninth or tenth 
 century, are engraved in section of Painting, pi. xxxi., xxxii., 
 and xxxiii. ; the whole has been published at Urbino, in 1727, 
 in 3 vols. fol. 
 
 16. Portion of a portico from the same manuscript, vol. i., 
 
 p. 106. 
 
 17. Plan of the aqueduct at Burgos, three miles from Con¬ 
 stantinople, the work of the Greek Emperors; it is 107 feet high, 
 and 120 French toises long. 
 
 18. Transverse section through the piers of the aqueduct. 
 
 19. Another through the arches. For further description 
 of this aqueduct, see Lettres sur - la Grèce, by M. Guys ; Paris, 
 1783, 4 vols, in 8vo., vol. ii., p. 6. 
 
 20. Plan of a Coptic church, from Pococke's Description of 
 the East, &c., vol. i., pi. lxxi., p. 246. 
 
 21. View of the exterior of a Greek church, with a cemetery 
 attached, taken from the Greek Menologue above mentioned, 
 No. 15. 
 
 22. Interior of the chapel of Godefroi de Bouillon, chief 
 of the first crusade, in the Church of the Holy Sepulchre at 
 Jerusalem. (Amico, De’ sacri edifizj di Terra Santa, pi. xxviii., 
 p. 40.) 
 
 23. Plan of the same. 
 
 24. Views of the exterior of a Greek church, from Drum¬ 
 mond's Travels in the East, in fol.; London, 1754, pi. vii., p. 279. 
 
 25. Remains of a castle belonging to the order of St. John 
 of Jerusalem, from the same work, p. 272. 
 
 26. Tower, erected at Rhodes, by the Knights of St. John 
 of Jerusalem, in the fifteenth century, and since restored by the 
 Turks. (Voyage pittoresque de la Grèce, par M. de Choiseul- 
 Gouffier, vol. i., pl. lxiii.) 
 
 27. Mosque of Mahomet H. at Constantinople. (Comidas, 
 Descrizione topografica di Constantinopoli.) 
 
 28. Armenian church of the monastery of the three churches 
 at Erivan, capital of the Persian Armenia. (Chardin, Voyage 
 en Perse; Amsterdam, 1735, vol. i, p. 214.) 
 
 29. Plan of a castle built at Alexandretta, by Godefroi de 
 Bouillon. (Drummond's Travels in the East, p. 123.) 
 
 30. Exterior view of the Greek Church of St. John, converted 
 to a mosque at Thyatyra, ancient city of Lydia. fWheler, vol i, 
 book iii, p. 251.) 
 
PLATE XXVIII. 
 
 LOWEST DEGREE OF THE DECLINE OF ARCHITECTURE IN ITALY. THIRTEENTH CENTURY 
 
 1. The sis churches of which the plans are here given, Nos. 1 
 to 6, are thus grouped at Bologna, under the title of St. Stephen, 
 the church No. 1, however, being more particularly dedicated 
 to that saint. 
 
 2. Subterranean Church of S. Lorenzo, beneath that of St. 
 Stephen, and serving as the Confession. 
 
 3. Church of the Holy Sepulchre ; according to tradition 
 the Baptistery of St Peter and St. Paul, No. 6, the first cathe¬ 
 dral built at Bologna. 
 
 4. Another church, called the Court of Pilate ; in the centre 
 is a large marble basin, engraved No. 13. 
 
 5. Church of the Trinity. 
 
 6. Church of St. Peter and St. Paul. 
 
 7. Plan and detail of a capital of one of the four principal 
 pillars of the Church of St. Peter and St. Paul. 
 
 8. Another capital from one of the columns of the nave of 
 the same church. 
 
 9. Transverse section of the Church of the Holy Sepulchre: 
 two of the figures of the four Evangelists, which ornament thé 
 pulpit in this church, are given in pi. xxvi., No. 36, of the sec- 
 tion of Sculpture. 
 
 10. longitudinal section of the Church of St. Peter and St. 
 Paul. 
 
 11. Bases and capitals from the cloisters of St. Stephen in 
 Bologna. 
 
 12. Section of St. Stephen in Bologna. 
 
 13. Large vase in marble, called the basin of Pilate ; from an 
 inscription upon it, it would appear to be of the time of Luit- 
 prand, king of the Lombards, in the eighth century. 
 
 14. Capital of the Ionic order, from the Church of the Trinity. 
 
 15. View of the three columns of Mars the avenger at Rome, 
 above them the tower of a monastery. 
 
 16. Side view of the peristyle of the Basilica of Antoninus at 
 Rome, now the custom-house. 
 
 17. Detail of the pilasters, capitals, and entablature added to 
 this peristyle by Fontana, in 1695, under Innocent XII, when 
 this ancient building was converted to a custom-house, 
 
 18. View of the small arch of Septimus Severus, built in the 
 portico of the Church of St. George in velabro. 
 
 19. Transverse section of the Church of St. Bartholomew all’ 
 isola at Rome. 
 
 20. Plan of the same. 
 
 21. Three bases tarn the same, one of which is antique, 
 enriched with ornaments. 
 
 22. Plan of the Church of St. Peter in castello at Verona. 
 
 23. Longitudinal section of the same. 
 
 24. Section of the Basilica of St. Zenon at Verona. 
 
 25. Transverse section of the same. 
 
 26. Plan of the same. 
 
 27. Plan of the subterranean church under the choir. 
 
 28. Bases and capitals from the same church ; on pi. brix., 
 Nos. 26 and 27, are other bases and capitals from the same 
 church. 
 
 29. Plan of the Basilica of S. Lorenzo outside the walls of 
 Rome. Constantine is generally regarded as the founder of this 
 church, but it has been successively augmented and restored 
 by the Popes Sixtus III., Pelagius II., Adrian I., and Honorius 
 
 III. ; and in the year 1475 by Nicholas V. with the assistance 
 of Bernardo Rossellini. (Ciampini, Vetera Monimenta, voL 
 i., p. 13 and 29; and vol. iii., p. Ill and following.) 
 
 30. Longitudinal section of the Basilica of S. Lorenzo ; the 
 choir was rebuilt in the eighth century by Adrian I., and is adorned 
 in the lower part with some fine fluted columns, with Corinthian 
 or composite capitals, and fragments of entablature, taken from 
 different antique edifices ; the nave is a later work, and appears 
 to have been added by Honorius III., in the thirteenth century. 
 
 31. Transverse section on the line A B of plan 29 ; at the 
 point A may be remarked a kind of well, to disengage one of 
 the columns of the choir, which are concealed by the construction 
 of the small subterranean church or Confession of the time of 
 Honorius. 
 
 32. Entrance façade of the same church, showing the portico 
 which was added, as well as the nave, by Honorius III., in the 
 thirteenth century ; it is supported by six antique fluted columns, 
 four of which are Greek marble, and two of the marble called 
 Bigio ; the walls are adorned with ancient fresco paintings, given 
 in the section of Painting, pL xviii., Nos. 10 and 11 ; this façade 
 is also reproduced in its chronological place, pi. lxiv., No. 15 ; 
 it may also be seen engraved in Ciampini, vol. i., pi. xvi., p. 29. 
 
 33. Transverse section, looking towards the entrance. 
 
 34. Fragments of architraves, friezes, and cornices, richly 
 scidptured, which have been taken from different antique 
 edifices, and placed without order one after the other to form 
 the entablature over the columns round the choir. 
 
 35. Bases and capitals from the same church, as varied in 
 their ornaments as their proportions ; some are antique. 
 
 36. One of the inter-columniations from the choir at A D on 
 the plan No. 29 ; the capital of one of the columns is Corinthian, 
 of fine workmanship, the other composite, adorned with trophies 
 in the centre and winged Victories in the angles; the enta¬ 
 blature, like that of No. 34, is constructed of antique fragments 
 of great richness. 
 
 37. “ Ciborium,” or tabernacle, in marble, over the high altar; 
 the four columns are of red porphyry. 
 
 38. One of the ambons or reading desks, used in the primi¬ 
 tive church for reading the Holy Scriptures; at the side a twisted 
 column to hold the paschal candle. (Ciampini, Ibid, vol. i., 
 pi. xiii., p. 23.) 
 
 39. One of the inter-columniations of the nave ; the columns, 
 twenty-two in number, are of granite, chiefly of the Ionic order, 
 but of unequal proportions, as also their bases and capitals ; the 
 manner of strengthening the architrave, to support the wall 
 above by low arches from column to column, is worthy of remark. 
 
 40. Plan of the Church of S. Lorenzo in miranda, built on 
 the remains of the Temple of Antoninus and Faustina. 
 
 41. Elevation of the same. 
 
 Architecture H 
 
PLATE XXIX. 
 
 MONASTIC EDIFICES, PLANS, ELEVATION, AND DETAILS OF THE MONASTERY OF S TA - SCHOLASTICA, 
 AT SUBIACO, NEAR ROME. THIRTEENTH CENTURY. 
 
 1. General plan of the cloisters of S“- Scholastica, a celebrated 
 abbey of the order of St Benedict, at Subiaco; the general plan 
 and details of this monastery are given pL xxxv. 
 
 2. Longitudinal section of the cloisters on the line A B C D ; 
 in the centre is a cistern, and at E a pointed arch, one of the 
 first executed in Italy. 
 
 3. Plan and elevation of a portion of the cloisters. 
 
 4. Bases and capitals; also given in their chronological order 
 in plate lxx., No. 20. 
 
 5. Detail of one of the columns of this cloister. 
 
 6. The inscription at the upper part of the plate is from a 
 cornice from.the interior of the cloisters; from it we learn that 
 Cosmas, and his sons Lucas and James, Roman citizens, and 
 skilful masons, executed this work in the time of the Abbot Landi, 
 who, according to an ancient manuscript of this convent, ordered 
 the embellishment of this cloister in 1235. 
 
HE- CO-ST^-S- ETI'ILtl- LVi'rîÀ-ALT- R0IM\N ICI VE S- INNKRMORlSjïÇEPE P I'l' J JJOC OPVS EXPLERVt yfi&TPEL/MDI- 
 


PLATE XXXI. 
 
 CLOISTERS OF TIIE CHURCII OF ST. PAUL OUTSIDE THE WALLS OF ROME ; GENERAL SECTIONS AT LARGE 
 AND DETAILS OF THE BASES AND CAPITALS OF THE COLUMNS. 
 
 TWELFTH AND THIRTEENTH CENTURIES. 
 
 1. Longitudinal section, on the line C D E F of the plan of the preceding plate. 
 
 2. Section on the line A B of the same plan ; at C are the steps and doorway into the sacristy. 
 
 3. Detail of the plinth round the cloisters, shown at E in the general section. 
 
 4. Bases and capitals from the same cloisters. 
 
r.,r xxxi. 
 
PLATE XXXII. 
 
 CLOISTER OF ST. PAUL OUTSIDE THE WALLS OF ROME; PLANS AND ELEVATIONS AT LARGE OF PORTION 
 OF THE FACADE. TWELFTH AND THIRTEENTH CENTURIES. 
 
 1. Plan of one of the principal entrances of the cloister, 
 marked D E on the plan No. 1 of pi. xxx., and xxxi., Nos. 
 1 and 2. 
 
 2. Elevation of the same ; the entablature is enriched with 
 a mosaic, the detail of which is seen on the next plate, No. 1. 
 
 3. Detail of another portion of this cloister, marked G on 
 the general plan No. 1 of pi. xxx., and No. 1 of xxxi. 
 
 4. Elevation of the same ; on the architrave is an inscription 
 relative to the period of the construction of this edifice; the 
 detail of the pier is repeated at pi. lxx., No. 21. 
 
 5, 6. Section of the arcades, showing the coupled columns; 
 the bases and capitals are also given in their chronological 
 order, pi. lxx., No. 22. 
 
 Architecture I 
 
PLATE XXXIII. 
 
 CLOISTER OF ST. PAUL. DETAIL OF THE ENTABLATURE ENRICHED WITH MOSAICS ; ORNAMENTS 
 SCULPTURED BETWEEN THE ARCHES. TWELFTH AND THIRTEENTH CENTURIES. 
 
 1. Drawing at large of the entablature, No. 2 of the pre¬ 
 ceding plate, enriched with mosaics in porphyry, serpentine, 
 and other precious materials. 
 
 2. Another entablature on the opposite side of the cloister, 
 differing somewhat in the mouldings and compartments of the 
 mosaics. 
 
 3. Section of one of the arches over the coupled columns. 
 
 4. Arabesque ceiling from the Hall of the Ambassadors of 
 the Alhambra, the general Unes of which have some analogy to 
 the form of the mosaics. 
 
 5. Figures and ornaments from the spandrils of the arches, 
 as seen on pi. xxxii., No. 2. 
 

PLATE XXXIY. 
 
 PLAN, ELEVATIONS, AND DETAILS OF THE HOUSE OF PILATE AT ROME. 
 ELEVENTH CENTURY. 
 
 1. Plan of the lower story of an ancient house, commonly 
 called the House of Pilate, on the left bank of the Tiber, near 
 the Temple of Fortune, and which is believed to have been that 
 of Crescenzio, or of Cola de Rienzo, built in the eleventh, and 
 restored in the following centuries. 
 
 2. Longitudinal section on the line A B of plans Nos. 1 
 and 5. 
 
 3. Side elevations on a scale twice that of the plan. 
 
 4. Cornice marked H on No. 3 ; the modillions are in mar¬ 
 ble, the other members of the cornice in brick. 
 
 5. Plan of the upper story. 
 
 6. Transverse section on the line C D. 
 
 7. Detail of the impost and archivolt marked E on the 
 section No. 2. 
 
 8. Other details marked F on section Nos. 2 and 6. 
 
 9. Elevation on the side of the entrance. 
 
 10. Water-leaf on the soffit of the antique archivolt over the 
 window marked I, Nos. 1, 6, and 9 ; and P in No. 12. 
 
 11. Portions of antique soffites, employed to form the ceiling 
 of the landing of the staircase K, section No. 6. 
 
 12. Detail of the ornaments of the window marked I in No. 9 ; 
 M is an antique fragment in marble, as also N, and the modil¬ 
 lions on either side, with carved eagles ; the brick columns are 
 surmounted with the fragments O O, which serve for capitals, 
 and upon them a portion of an antique archivolt, the soffit of 
 which is engraved No. 10. On the inner side, next the landing 
 of the staircase, is this verse :— 
 
 ADSV ROMANIS GRANDIS HONOR POPVLIS 
 
 13. Detail of part G on No. 3; compound of antique frag¬ 
 ments in marble in the brick construction. 
 
 14. Another detail from the entrance front, marked L, No. 
 9 ; the general division of the lines are the same as No. 13, but 
 their ornaments are different, as they are taken from other 
 antique edifices. The arch Q is formed of a portion of a circular 
 cornice turned on its side, supported at each end by antique 
 corbels of lions’ heads. 
 
 15. One of the antique modillions above the angular column, 
 in marble, with two winged figures, Cupid and Psyche. 
 
 16. Another modillion from the same entablature. 
 
SECOND PART. 
 
 REIGN OF THE SYSTEM OF ARCHITECTURE CALLED GOTHIC, 
 FROM THE NINTH, TENTH, AND ELEVENTH CENTURIES, 
 
 TO THE MIDDLE OF THE FIFTEENTH. 
 
 PLATE XXXV. 
 
 EARLIEST INDICATIONS OF GOTHIC ARCHITECTURE IN ITALY, AT THE ABBEY OF SUBIACO NEAR ROME. 
 NINTH, TENTH, ELEVENTH, AND TWELFTH CENTURIES. 
 
 Fio. A. 
 
 General view of the hospital of the Benedictines, called 
 Sagro Speco, a dependence of the Monastery of S“- Scholastica, 
 Subiaco. 
 
 Fig. B. 
 
 Plan of the ground-floor of the same :— 
 
 1. Garden of roses, from which is the ascent to the various grottos. 
 
 2. Different grottos or cemeteries cut in the rock ; according to tradition 
 St. Benedict retired here to explain the Holy Scriptures to his disciples. 
 
 3. Staircase, half up which is the entrance to the chapel No. 4, dedi¬ 
 cated to St. Laurence the happy. 
 
 4. Chapel of St. Laurence, with pointed vaulting ; constructed in the 
 ninth century. 
 
 0. Continuation of the same staircase to No. 9, the lower chapel. 
 
 0. Entrance of the grotto inhabited by St. Benedict. 
 
 7. Grotto of St. Benedict. 
 
 8. Another entrance of the same, communicating with the lower church, 
 No. 9. 
 
 9. Lower churoh. 
 
 10. Staircase to the upper story of the lower church. 
 
 11. Plan of the same. 
 
 12. Separate plan of a corridor, which, passing under the Sagro Speco, No. 
 17, and from staircase, No. 5, leads to the chapel of St. Gregory, No. 13. 
 
 13. Chapel of St. Gregory, beneath that of St. Laurence the happy. 
 
 14. Another staircase leading to No. 15, behind the high altar of the 
 upper church. 
 
 15. Vestibules and chapels behind the high altar. The shaded parts 
 of this plan represent the rock. 
 
 Fig. C. 
 
 Plan of the upper Church of Sagro Speco, and its depen¬ 
 dencies :— 
 
 16. Entrance from the exterior to the upper church. 
 
 17. Plan of the upper church. 
 
 18. Steps on each side of the high altar, descending to the lower church. 
 
 19. Vestibules and chapels cut out of the rock. 
 
 20. Top of the staircase, descending to the lower church. 
 
 21. Entrance to the sacristy of the upper church. 
 
 22. Corridor leading to the tower. 
 
 23. Staircase to tower. 
 
 Fig. D. 
 
 Section on the line 16, 17, and 19, of plan C, showing the 
 upper and lower churches :— 
 
 1. Garden of roses. 
 
 9. Section of the lower church. 
 
 10. Staircase. 
 
 11. Landing, reached by staircase, No. 10. 
 
 14. Another staircase, from the lower to the upper church. 
 
 19. Vestibules and chapels. 
 
 18. Steps on either side of the high altars. 
 
 17. The upper church. 
 
 16. Entrance from the exterior. 
 
 Fig. E. 
 
 Another section on the line 4, 5, and 9, of plan B :— 
 
 1. Garden of roses. 
 
 4. Chapel of St. Laurence. 
 
 5. Staircase from the lower to upper chapels. 
 
 9. Transverse section of the lower church. 
 
 12. Corridor, communicating with the chapel of St. Gregory. 
 
 13. Chapel of St. Gregory. 
 
 17. Transverse section of the upper church. 
 
 Fig. F. 
 
 4. Transverse section of the chapel of St. Laurence. 
 
 5. Transverse section of the chapel of St. Gregory. 
 
 Fig. G. 
 
 General plan of the monastery of S 10 - Scholastica at Subiaco, 
 in the present state :— 
 
 1. Court. 
 
 2. First cloister, of modern construction, with porticos round two 
 sides only. 
 
 3. Second cloister, surrounded by very ancient dormitories. 
 
 4. Ancient cloister, by the Abbot Lando. The details are given in 
 pi. xxix. 
 
 5. Grand refectory. 
 
 6. Church of S“- Scholastica. 
 
 Fig. H. 
 
 Plan of the Church of S“- Scholastica ; the darker tint shows 
 the plan of the ancient church, within the walls of which the 
 new church was constructed under Pope Pius VI. 
 
 Fig. I. 
 
 Longitudinal section of this church, with the ancient tower. 
 
 Fig. K. 
 
 Transverse section of the same church ; it shows how within 
 the nave of the old church, and beneath its gothic vaulting, was 
 constructed the modem church with semicircular arches. 
 
 Fig. L. 
 
 The gothic vaulting of the old church ; tenth and eleventh 
 
 centuries. ^ „ 
 
 Fig. M. 
 
 Plan of the second cloister and dormitory, No. 3 on general 
 
 P lm ' Fig. N. 
 
 Longitudinal section of the cloister and dormitory ; this 
 façade is also given in pi. xlii., No. 3. 
 
 Fig. O. 
 
 One of the windows of ancient construction. 
 
 Fig. P. 
 
 Door of the same dormitory, remains of a more ancient door 
 destroyed by an earthquake. 
 
PLATE XXXVI. 
 
 SELECTION FROM DIFFERENT BUILDINGS, EXHIBITING THE GOTHIC STYLE, FROM ITS ORIGIN IN THE NINTH, 
 TO THE THIRTEENTH CENTURY. 
 
 1. Ground plan of Notre Dame of Dijon, built in the reign 
 of St. Louis, in the middle of the twelfth century. 
 
 2. Plan of one of the pillars. 
 
 3. Detail of one of the angles of the upper part of tower. 
 
 4. Transverse section through the transept. 
 
 5. One of the pillars of the nave. 
 
 6. One of the pillars of vestibule C. 
 
 7. One of the four centre pillars of the church, at the height 
 of the first gallery. 
 
 8. Plan of the church at the level of the first gallery ; the 
 walls are reduced to seven inches in thickness, to allow of the 
 gallery which runs throughout. 
 
 9. Plan of the stones of the tower: F the lower plan above 
 the vault of the church ; G the intermediate story ; IT the upper 
 story. The walls of this tower are only nine inches thick, and the 
 angular pillar, hollowed to receive the staircases, only five inches. 
 
 10. Transverse section of the church, looking towards the 
 entrance: the nave is covered by a wooden roof, twenty-two feet 
 high, the strongest pieces of which are only nine inches thick. 
 
 11. Section of the small galleries. 
 
 12. Plan of one of the pillars of the gallery E on plan No. 8 ; 
 the centre column is eleven inches diameter, the smaller one five ; 
 three of these have no other support than an iron staple, which 
 is shown No. 13. 
 
 13. Iron in form of a T, mentioned above ; for further details 
 of this church, see Blondel cour d' Architecture civile, six vols, 
 in 8vo. ; Paris, 1771, 1777. 
 
 14. Longitudinal section of St. Flavian, near Montefiascone ; 
 the Gothic arches are of the time of the construction, in 1030; 
 the rest at the time of the restoration, in 1262. 
 
 15. Plan of the lower part of the same church ; in the centre 
 is a grating in the vaulting, that the high altar may be seen 
 from the upper church. 
 
 16. Tran verse section of St. Laurence the happy. 
 
 17. Portion of the façade of the Fountain Branda at Sienna, 
 commenced in 1193 ; the façade is given at pi. lxxu., Nos. 2 and 3. 
 
 18. Plan of a small church, half ruined ; it was the chapel to 
 a fortress, which the ancient and illustrious family of Gaetana 
 erected near the Mausoleum of C’æcilia Metella, destroyed by 
 Pope Sixtus V. 
 
 19. Window from the same church. 
 
 20. Section of the Cathedral of St. Leo, a small town in the 
 duchy of St. Urbino, restored in 1173. 
 
 21. Plan of the same. 
 
 22. Portion of the porticos round the Place of Rimini, con¬ 
 structed in 1204. 
 
 23. Transverse section of the Church of St. Bernard, at Chiar- 
 avalle Abbey of Bernadines, between Ancona and Sinigaglia, 
 twelfth century, vide pi. lxxiii. 
 
 24. Longitudinal section of a portion of the nave of the same ; 
 the arches are given pi. xvii., No. 5 ; the details of the bases and 
 capitals, pi. lxx., Nos. 10 and 11. 
 
 25. Façade of the same, reproduced at pi. lxiv., No. 13. 
 
 26. Section of the cell in which St. Francis died in 1226 ; it 
 has been converted into a chapel, called Portinuncula ; it is now 
 beneath the cupola of Notre Dame des anges, near Assisi, built 
 from the design of Vignola. 
 
 27. Façade of this chapel; over the door is this inscription :— 
 
 HÆC EST PORTA VITÆ ÆTERNÆ 
 
 28. Side elevation of the chapel. 
 
 29. Plan of the same. 
 
 30. Plan of a church erected at Assisi, by a king of Spain, 
 over the remains of the paternal house of St. Francis, indicated 
 by a darker tint at A and B. 
 
 31. Plan on a larger scale of the chamber A in which St. 
 Francis was bom in 1182. 
 
 32. Transverse section of the same chamber ; the original roof 
 is a semicircle, the restoration a pointed arch. 
 
 33. Plan of the Cathedral of Morreale, near Palermo, in the 
 twelfth century, by William II., called the Good. 
 
 34. Longitudinal section of the same ; the nave is decorated 
 with eighteen columns of granite ; of which, nine have Corinth- 
 tliian, and the other nine composite capitals and bases, which 
 were most probably antique. 
 
 35. One of the composite capitals of the nave ; this capital 
 is given at large pi. Lxx., No. 13. 
 
 36. Base of composite column. 
 
 37. Corinthian capital. 
 
 38. Interlacing in mosaic over the upper windows. 
 
 39. Plan of the lower Church of St. Francis, at Assisi ; thir¬ 
 teenth century. 
 
 40. Plan of the upper part of the same. 
 
 41. Section of the upper and lower church. 
 
 42. Plan of one of the four pillars at the transepts. 
 
 43. Plan of one of the pillars at the external angles of the 
 transepts. 
 
 44. Detail of one of the pillars against the wall, reproduced 
 pi. lxx., No. 19. 
 
 45. Part of the choir of the Church of St. Francis at Assisi 
 
 46. Side of the same, showing the buttresses which resist the • 
 pressure of the arches of the nave. 
 
 Architecture J 
 
PLANS, SECTIONS, AND DETAILS OF THE UPPER AND LOWER CHURCHES OF ST. FRANCIS AT ASSISI. 
 THIRTEENTH CENTURY. 
 
 6. Plan of one of the pillars at the external angles, at the 
 meeting of the nave and transepts. 
 
 7. Plan of one of the pillars at the internal angles of 
 transepts. 
 
 8. General elevation of the tower. 
 
 This church is the most considerable edifice of the first 
 period of Gothic architecture, and that which served as the 
 general model for the churches of the order of St. Francis. 
 
. à'xxvjt. 
 
PLATE XXXVIII. 
 
 PLAN, SECTION, AND FAÇADE OF THE CHURCH OF ST. FLAVIAN, NEAR ONE OF THE GATES OF MONTEFIASCONE. 
 ELEVENTH AND THIRTEENTH CENTURIES. 
 
 1. Plan of the lower Church of St. Flavian. 
 
 2. Longitudinal section. This section is repeated at pi. xlii., No. 9 ; the columns at pi. lxviii., Nos. 39 and 40 ; 
 the bases and capitals at pi. lxx., No. 23. 
 
 3. Elevation of one of the façades of the Church of St. Flavian. Above is a small gallery, or open lodge, from 
 which Pope Urban IV., who for some time dwelt at Montefiascone, gave the people his benediction. 
 
. xxx/. 
 
/a&r/U/e.Mtdtfa tn-Av’na # t /sà,i ,/v/a (C/A-.//1//J AéPar'ta, 
 
PLATE XL. 
 
 PORCH, SIDE ELEVATION, VIEW OF THE INTERIOR, AND DETAILS OF THE DECORATION OF NOTRE DAME 
 AT PARIS. TWELFTH AND THIRTEENTH CENTURIES. 
 
 1. Principal front. 
 
 2. Plans and profiles of different columns and pillars, with their bases and capitals. 
 
 3. Transverse section of the church ; the roof is reproduced pi. Ixxi., No. 55. 
 
 4. General view of the interior. 
 
 5. Side elevation. 
 
 Architecture K 
 
PLATE XL I. 
 
 PRINCIPAL MONUMENTS OF GOTHIC ARCHITECTURE, FROM DIFFERENT COUNTRIES OF EUROPE, IN THE 
 FOURTEENTH AND FIFTEENTH CENTURIES, THE MOST BRILLIANT EPOCH OF THIS SYSTEM. 
 
 1. York Cathedral, completed in 1426; the geometrical 
 elevation is given pi. lxiv., No. 23 ; the base and capital of one 
 of its columns, pi. lxx, No. 30. 
 
 2. Plan of the Abbey of St. Ouen at Rouen, built in 1318. 
 
 3. General section of the same. 
 
 4. Transverse section. 
 
 5. Jubé at the entrance of the choir ; this kind of tribune, 
 found in most ancient churches, has received its name from the 
 words, Jubé, Domine, benedicere, which the reader was in the 
 habit of saying before commencing the reading of the Holy 
 Scriptures. 
 
 6. Exterior side view of St. Ouen. 
 
 7. Interior view, reproduced pi. lxvi., No. 5. 
 
 8. Division of the nave. 
 
 9. View of a church in England, called Sanctre Fidis. 
 
 10. Strasburgh Cathedral; thirteenth and fourteenth centuries; 
 the tower was completed in 1449. 
 
 11. Side elevation of the Cathedral of Burgos in Spain, built 
 by Ferdinand III. in the beginning of the thirteenth century. 
 
 The style appears to resemble somewhat the Arabic architec¬ 
 ture of Spain. (Ponz Viage de Espaiia, 1776.) 
 
 12. View of the exterior of the Cathedral of Rheims in 
 France, rebuilt in the thirteenth and fourteenth centuries. 
 
 13. General view of the side of this church. 
 
 14. Plan of the Cathedral of Milan, commenced in 1386, 
 by order of the Duke Jean Galéas Visconti. 
 
 15. Longitudinal section of the same church, with the 
 Confession beneath the choir. 
 
 16. View of the Cathedral of Milan. 
 
 17. Transverse section of the same church. 
 
 18. Division of the nave. 
 
 19. Part of the Hall of the Two Sisters of the Alhambra in 
 Granada, from Swinburne's Travels in Spain, 1779, in 4to.,p. 182. 
 
 20. Portion of architectural decoration from Herculaneum. 
 
 21. From a Chinese drawing. 
 
 These three last subjects have been given to facilitate the 
 comparison of the Gothic with these different styles of arch¬ 
 itecture. 
 
"f 
 
PLATE XLII. 
 
 CHRONOLOGICAL SERIES OF ARCHES AND OTHER PARTS, WHICH CONSTITUTE 
 THE GOTHIC SYSTEM OF ARCHITECTURE. 
 
 1. First traces of the pointed arch employed in Italy, in the 
 chapel of St. Laurence at Subiaco ; see pi. xxxv., figs. B, E, F, 
 No. 4. 
 
 2. The same form of arch, from the Church of S 1 *- Scholastica 
 at Subiaco; tenth to eleventh centuries; see pi. xxxv., figs. K, L. 
 
 3. Similar kind of arch in the cloister from the same ; see 
 pi. xxxv., figs. M, N, O, P. 
 
 4. Mixture of two kinds of arches from the Cathedral of 
 Modena ; the longitudinal section shows only semicircular arches 
 in the transverse section is seen the pointed arch of the nave, 
 introduced at the time of a restoration in the eleventh or twelfth 
 centuries ; the plan and sections of this church are given at pi. 
 lxxiii., Nos. 16, 30, 39, 40, and 42; one of the columns, pi. 
 lxviii., No. 28 ; and a capital, pi. lxx., No. 12. 
 
 5. The pointed arch of the nave of the Church of Chiaravalle, 
 the windows have semicircular arches ; twelfth century ; see pi. 
 lxxiii.. Nos. 17, 31, 41, and 43, pi. lxiv., No. 13 ; pi. lxviii., No. 
 33, for the columns ; pi. lxx., Nos. 10 and 11, for the bases. 
 
 6. This mixture of the two kinds of arches is also observed 
 in S“- Maria in castello at Cometo; twelfth century; see pi. 
 lxxiii, No. 48, and pi. lxiv., No. 14. 
 
 7. The pointed arch alone, in the Church of St. Francis at 
 Assisi ; thirteenth century ; see pi. xxxvi. and xxxvii. 
 
 8. Another mixture of the two kinds of arches at St Etienne 
 du Mont, Paris ; the lower arches are segmental, the pointed 
 arches restorations in the thirteenth century; see pi. lxx., 
 Nos. 46 and 53. 
 
 9. The round arch placed above the pointed in the Church of 
 St. Flavian, of the eleventh and twelfth centuries ; see pi. xxxviii. 
 
 10. Alternate employment of the two kinds of arches in 
 the Cathedral of Sienna, according to the period or taste of the 
 architects engaged in its construction, in the thirteenth centuiy. 
 Consult for the date of these constructions the work of P. 
 Guglielmo della Valle, entitled Lettere Sanesi, 3 vols, in 4to. ; 
 Venezia et Roma, 1782, 1786, vol. i. p. 177. The general plan 
 and sections of the Cathedral of Sienna are engraved in pi. lxxiii., 
 No. 49. 
 
 11. Similar combination from the Cathedral of Orvieto in 
 the thirteenth century ; for plan and sections of this church see 
 pi. lxxiii., No. 50 ; the façade, pi. lxiv., No. 18 ; bases and I 
 capitals of the columns of nave, pi. lxx., No. 26 ; and see further 
 Storia del duomo di Orvieto ; Roma, 1791, in 4to. fig., by the 
 Padre della Valle. 
 
 12. The pointed arch, employed throughout the Church of 
 S'*- Maria del Fiore at Florence, commenced in 1298, from the 
 design of Arnolfo de Lapo ; see for plan and sections, pi. 
 lxxiii., No. 52; the cupola, pi. lxvii., No. 16 ; one of its pilas¬ 
 ters, pi. lxviii., No. 49 ; and bases, capitals, and entablature, pi. 
 lxx., Nos. 24 and 25. 
 
 13. The pointed arch employed with arches of other curves 
 at the Alhambra ; see pi. xliv. 
 
 14. Springing of an arch from an ancient chuxch in Paris, 
 at Capo di bove, near Rome ; thirteenth century ; for the sections 
 of this church see Nos. 16 and 17 ; and the plan xxxvi., No. 18. 
 
 15. Detail of one of the windows from the same church. 
 
 16. Transverse section of the church at Capo di bove. 
 
 17. Longitudinal section of the same. 
 
 18. Four centred arches, employed in England from the 
 eleventh to the fifteenth centuries. 
 
 19. Entrance of the Chinch of St. Laurence at Naples, 
 constructed in the thirteenth century by Maglione, pupil of 
 Nicolas of Pisa. (Vasari, Vite de’ Pittori, edit de Rome, vol. i., 
 
 p. 21.) 
 
 20. Elevation of the small Church of S“ Maria in acumine 
 at Rimini, built in 1373. 
 
 21. Side elevation of the same church; the arches of the 
 interior are pointed, the exterior is constructed in brick, with 
 ornaments in terra cotta. 
 
 22. The irregular employment of the two kinds of arches in 
 the Church of S' 1 - Maria sopra Minerva at Rome ; fourteenth 
 century ; for plan and section of this church see pi. lxxiii., No. 
 75, and one of its columns, pi. lxviii., No. 53. 
 
 23. Pointed arch, from the Cathedral of St. Francis at 
 Rimini ; fifteenth century ; the plans and details of this church 
 are engraved at pi. li. 
 
 24. The round arch substituted for the pointed in the 
 Church of St. Augustine at Rome, from the design of Baccio 
 Pentelli, at the end of the fifteenth century ; plan and sections 
 of this church are seen at pi. Lxxiii., No. 68 ; the cupola, pi. 
 lxvii., No. 13; one of the columns, pi. lxviii., No. 61; and 
 details of the interior, pi. lxx., No. 36. 
 
 25. Another example of round arch, in the Loggia or Portio 
 de’ Lanzi, on the Place of the old palace at Florence, built in 
 the fourteenth century by Andrea Orcagna ; one of the pillars 
 is given pi. lxviii., No. 50 ; the base and capital, pi. lxx., 
 No. 27. 
 
PLATE XLIIJ. 
 
 THE ARCHITECTURE OF SWEDEN BEFORE THE INTRODUCTION OF GOTHIC ARCHITECTURE 
 INTO THAT COUNTRY. 
 
 1. General plan of the Temple of Odin, the Apollo of the 
 northern people, at Upsala in Sweden ; the part of the plan 
 in light tint shows the addition to the ancient temple, when 
 it was converted to a church, and dedicated to St. Laurence, 
 in the twelfth century. (Monumenta Uplandica, 2 vols, in fol. ; 
 Stokholmiæ, 1710, 1719, part i., p. 152, 162.) 
 
 2. View of this monument in its primitive state. 
 
 3. View of what remains of the ancient temple. 
 
 4. View of the temple converted to a church. 
 
 5. Ruins of the Fortress of Cronenberg in Smalandia, in 
 the eleventh century, about 1002. (Suecia antiqua et hodiema, 
 part iii., Ostrogothia, pi. xc.) 
 
 6. Remains of the ancient citadel of Ymsebourg in West- 
 gothia. (Ibid, part iii., pi. lxxi.) 
 
 7. Other ancient ruins. (Ibid, part iii., pi. lxxi.) 
 
 8. Ancient Church of St. Eric and St. Bartholomew, near* 
 the town of Sigtima, on the lake Meier, in Uplande, between 
 Stockholm and Upsala. (Ibid, part l, pi. lxvii.) 
 
 9. Remains of the ancient Monastery of Alfuastrae, in 
 Ostrogothia. (Ibid, part iii., pi. xii.) 
 
 10. Interior of a sepulchral monument of King Olaus II.. 
 Skattkanungs, baptized in 1012, and of his queen, from the 
 cemetery of the Monastery Husabyense in Westgothia. (Ibid, 
 part iii., pi. xxxvii.) 
 
 11. Temple of Danemarck, or Church of the Trinity, near 
 Upsala, built in 1161. (Monumenta Uplandica, part i., p. 268.) 
 AH the arches of this church, with one exception, probably a 
 later restoration, are semicircular. 
 
 12. Seal of the city of Upsala, twelfth century ; the arches 
 shown upon it are semicircular. (Ibid, partii., p. 301.) 
 
 13. Another seal from the same city, 1260; it shows the pas¬ 
 sage to the pointed arch. (Ibid, par t i., p. 224.) 
 
 14. Seal of the Metropolitan of Upsala from 1253 to 1271 ; 
 with arches still more pointed. (Ibid, part i., p. 176.) 
 
 15. Ruins of the Monastery of Wreta, in Ostrogothia, destroyed 
 at the Reformation ; in the most ancient part, which is of the 
 twelfth century, we have the round arch, and in the later con¬ 
 struction, the pointed. (Ibid, part iii, pi. xxviii.) 
 
 16. Interior of the choir of tills church, with pointed arches. 
 (Ibid, part iii., pi. xxix.) 
 
 17. Sepulchral chapel of King Svercher, who died in 1210, 
 with pointed arches. (Ibid, part iii., pi. xxxi.) 
 
 18. Exterior of the Church of Wakshaldense in the district of 
 Upsala, with round arches in the more ancient parts, and point¬ 
 ed in the restoration. (Monumenta Uplaudica, part i., p. 232.) 
 
 19. Interior of the Church of the Trinity, Upsala, built in 
 1343, restored 1399. (Ibid, part ii., p. 12.) 
 
 20. Plan of the Cathedral of Upsala, constructed in 1287, on 
 the model of Notre Dame of Paris, by Etienne de Bonneuil, a 
 French architect. (Ibid, part ii., p. 24.) 
 
 21. Exterior view of the church, with the pointed arch uni¬ 
 versally employed. 
 
 22. One of the chapels from the same. (Ibid, part i., pi. lix.) 
 
 23. Another chapel from the same. (Ibid, parti., pi. lix.) 
 One of the columns is engraved pi. lxviii., No. 42. 
 
 24. Seal of the Archbishop of Upsala, from 1383. (Monu¬ 
 menta Uplandica, part ii., p. 151.) 
 
 25. View of the Church of Lindcoping, capital of Ostrogothia. 
 (Suecia antiqua et hodiema, part iii., pi. v.) 
 
 26. Ruins of the Monastery of Gudhemsene. (Ibid, part iii., 
 ; pi. liii.) 
 
 27. Ancient gate of Cairo, showing a mixture of the two 
 i arches, round and pointed. (Norden, Voyage d’ Egypte et 
 
 de Nubie, vol. i., pL xxi.) 
 
PLATE XLIV. 
 
 STATE OF ARABIAN ARCHITECTURE IN EUROPE, FROM THE EIGHTH TO THE FIFTEENTH CENTURY. 
 
 1. Plan of the Cathedral of Cordova, formerly a mosque, 
 built at the end of the eighth century by Abdoulrahman I., 
 second Saracenic king of Cordova. In the interior of the tem¬ 
 ple there are nineteen aisles in the width, and twenty-nine in 
 the length, divided by ranges of columns, to the number of eight 
 hundred, which, with those in other parts of the edifice, amount 
 to more than one thousand. (Antiguedades Arabes de Grenada 
 y Cordova. Swinburne’s Travels through Spain ; London, 1779, 
 in 4to.) 
 
 2. The front of the Cathedral of Cordova; the entrance door 
 offers one of the most ancient examples of the horseshoe arch. 
 
 3. Longitudinal section of the same ; one of the columns of 
 the nave is given pi. lxviii., No. 15. 
 
 4. Double range of arches supporting roof of nave. 
 
 5. Detail of one of the pilasters. 
 
 6. Capital of one of the columns ; several other varieties are 
 given pi. lxix., No. 19. 
 
 7. Detail of interlacing arches, the ensemble of which may 
 be seen pi. lxv., No. 22. 
 
 8. Ruins at the ancient Persepolis. (Chardin, Voyage en 
 Perse; Amsterdam, 1735, vol. ii., pi. lii., p. 141.) 
 
 9. Temple at Esneh, Upper Egypt. (Norden, Voyage en 
 Egypte, vol. i., pi. cxv., p. 58.) 
 
 10. Plan of the same temple. 
 
 11. Plan of the Mosque of Amrah, Old Cairo, formed of four 
 hundred columns ; the centre part is open. 
 
 12. Plan of the Zisa, near Palermo, built by the Arabs in the 
 ninth or eleventh century. 
 
 13. Plans of the upper stories. 
 
 14. Façade; this front has been greatly restored and modernized. 
 
 15. Transverse section on the line A B of plan, No. 13. 
 
 16. Section on a large scale of the saloon on the ground floor ; 
 for further description of this building, consult Leandro Alberti, 
 
 Descrizione di tutta ITtalia ; Venezia, 1568, in 4to., p. 53. 
 Invegès, Annali di Palermo, 3 vols, in fol., 1649, part ii., p. 642. 
 Fazello, de Rebus Siculis, 3 vols, in fol. 
 
 17. The ruins of the Temple of the Sim, Palmyra. (The 
 Ruins of Palmyra ; iondon, 1753, in fob, pb xxi., p. 45.) 
 
 18. Detail of the' architrave and cornice of the great door of 
 the enclosure of the Temple of the Sun. 
 
 19. View of a pavilion, over the principal gate of the Royal 
 Palace of Ispahan. (Chardin, Voyage en Perse, vol. ii., 
 pb xxxix., p. 37.) 
 
 20. Plan of the Alhambra, at Granada, in Spain ; built by 
 the Moorish kings, during the thirteenth, fourteenth, and fif¬ 
 teenth centuries, the most brilliant period of Arabian architec¬ 
 ture in Europe. (Antiguedades Arabes de Granada y Cordova, 
 pb vi. Swinburne’s Travels through Spain, p. 171.)* 
 
 21. Outer wall of the fortress of the Alhambra. (Antig. 
 Arab, pb i.) 
 
 22. View of the baths. 
 
 23. Longitudinal section of the Court of the Lions, on the 
 line C D E of plan. 
 
 24. Column from the Court of Lions. 
 
 25. Section of the Hall of the Ambassadors and the Court of 
 the Fish-pond. (Ibid, pb vii.) 
 
 26. Capital from the Court of the Fish-pond. 
 
 27. Fountain of Lions. 
 
 28. 32, 34. Capitals from the Court of Lions. 
 
 29. 30, 31. Different forms of arches in use by the Moors 
 and Arabs. 
 
 33. Fountain of Lions. 
 
 35, 36, 37. Plan, elevation, and section of the house of the 
 consul of Spain at Algiers. 
 
 * See further on this subject, “ Plans, Elevations, Sections, and Details of 
 the Alhambra," by Owen Jones. London, 1842. 
 
 Architecture L 
 
PLATE XLV. 
 
 BUILDINGS FROM DIFFERENT COUNTRIES, WITH SOME RESEMBLANCE TO THE GOTHIC STYLE, 
 AND WHICH MAY HAVE INFLUENCED ITS INVENTION. 
 
 1. Profile of the base of column and pedestal from the Arch ; 
 of Constantine, reproduced in this plate, as also the following j 
 numbers, to recall the low state into which art had fallen in 
 Italy, from the fourth to the sixth centuries. 
 
 2. Half the façade of the Palace of Theodoric at Ravenna. ; 
 
 3. Portion of the façade of the Mausoleum of Theodoric at 
 Ravenna. 
 
 4. Ancient construction of the Abbey of St. Albans, built by 
 the Saxons in the fifth and sixth centuries. (Strutt, Complete 
 review of the manners, customs, &a, of the inhabitants oi 
 England; London, 1775, 3 vols, in 4to., vol. 1, pi. lxv.) 
 
 5. Remains of the conventual Church of Ely, constructed 
 during the Heptarchy, about 673. (James Bentham, History 
 and Antiquities of the Conventual and Cathedral Church of 
 Ely; Cambridge, 1771, in 4to., pi. iv., p. 29.) 
 
 6 . Entrance doorway of the same church. (Ibid, pi. v.) 
 
 7. Plan and elevation of an octagonal tower, with round 
 arches, formerly in the cemetery of the Church of Sts. Innocents at 
 Paris; constructed in the sixth century, it was demolished in the 
 year 1778. (Montfaucon, Supplement à l’Antiquité Expliquée, 
 vol. iv., pl. lix., p. 144.) 
 
 8 . Tower of the sixth century, with round arches, part of 
 the front of St. Germain-des-prés. 
 
 9. Portion of the façade of St. John in borgo at Pavia, 
 seventh and eighth centuries; the façade is given entire pl. , 
 lxiv., No. 6 , and the plan pl lxxiii., No. 27. 
 
 10. Doorway of Ifley Church, near Oxford. 
 
 11. South door of Ely Cathedral; the inner arch is trefoiled, 
 a figure used to recall the idea of the Holy Trinity. (Hist 017 of 
 the Conventual Church of Ely, pl. vi.) 
 
 12. Remains of the Monastery of Kelso in Scotland, founded 
 by David I., in 1128. (Collection of Antiquities, London, 
 1778; by Thomas Hearne and William Byrne.) 
 
 13. Ruins of the Church of St. Mary, near York, rebuilt in 
 1270. (Ibid.) 
 
 14. Façade of the Church of St. Maurice at Angiers ; 
 thirteenth century. 
 
 15. Front of the Church of the Trinity at Caen, built by 
 order of William the Conqueror in 1061. 
 
 16. Remains of the Oratory of Abelard, at the Abbey of 
 Paraclete, in Champagne ; twelfth century. 
 
 17. Saxon capital, from the Church of St. Peter, Oxford. 
 
 18. Capital from the Church of St. John in borgo, Pavia ; 
 seventh century. 
 
 19. Church of St. Peter and St. George at Bamberg, in 
 Germany, eleventh century; the arches are both round and 
 pointed. (Histoire Ecclesiastique d' Allemagne, 2 vols, in 8vo. ; 
 Bruxelles, 1724, vol. I, p. 191.) 
 
 20. One of the gates of Milan, called the Roman gate; 
 twelfth century. (Guilini, Memorie della città e campagna di 
 Milano, ne' secoli bassi ; Milano, voL ri-, p. 420.) 
 
 21. Church of St. Simeon at Treves, eleventh century; the 
 round arches are observed in the original construction, and the 
 pointed arches in the restoration. (Antiquitates et Annales 
 Trevirenses; Leodii, 1670, vol. ii., p. 99.) 
 
 22. St. Jacques, Liege, where the same may be observed. 
 (Delicès du pays de Liege, par Evrard Kents, 5 vols, in foL, 
 1738, vol. I, p. 163.) 
 
 23. Church of St. Bartholomew at Liege, eleventh century ; 
 in which the round arch appears employed without motive, and 
 as decoration only. 
 
 24. Longitudinal section of Ely Cathedral, showing the use 
 of the round and pointed arches at successive periods. (Bentham, 
 History and Antiquities of the Church of Ely, pl. xliii.,p. 283.) 
 
 25. Part of the above on a larger scale, to show the pointed 
 arches. 
 
 26. View of cupola, at the junction of the nave and tran¬ 
 septs, with pointed arches. 
 
 27. Part of the above on a larger scale, to show the round 
 arches ; one of the columns is engraved pl. lxviil, No. 45. 
 
 28. Ancient gate of the Castle of Smyrna, with the horse¬ 
 shoe arch; built in the thirteenth century by Jean Ducas. 
 (Travels through several parts of Asia, by A. Drummond, Esq., 
 Consul at Aleppo; London, in fol., pp. 115 and 118.) 
 
 29. Ruins of the ancient Church of St. Simeon at Mandras, 
 Arabia Petrea, with the round arch. (Ibid, pp. 195 and 197.) 
 
 30. Façade of the side elevation, No. 33, of the same church. 
 
 31. Church dedicated to St. Macar, king of Armenia, neav 
 Teflis in Georgia, with round arches. 
 
 32. Façade of the Church of St. Mamas in Cyprus ; six¬ 
 teenth century. 
 
 33. Side of the Church of St. Simeon at Mandras. 
 
Arc/lit. 
 
PLATE XLVI 
 
 CONJECTURES ON THE ORIGIN, DIVERS FORMS, AND EMPLOYMENT OF THE POINTED ARCH. 
 
 1. Cavern cut out of the rock for habitation. 
 
 2. Subterranean excavation, taking naturally the pointed 
 form. 
 
 3. Alley of trees, also presenting the form of the pointed 
 arch, whicli may have arisen by chance, or directed by the wants 
 of man in forming the first habitations. 
 
 4. Other arrangements of trees for a similar purpose. 
 
 5. These same trees united with a certain regularity form 
 a cottage with a roof covered with leaves and branches, and the 
 walls filled in with straw and earth. (Galiani, Traduction de 
 Vitruve, pi. iii., page 49.) 
 
 6 . The first ornaments which the wooden house received. 
 
 7. Architecture perfected, preserves in the porticos and 
 other constructions in stone, the form and ornaments of the 
 first houses of wood. 
 
 8 . Two supports, united diagonally to two wood pillars, to 
 assist in supporting the architrave, may have readily given the 
 idea of the pointed arch, or even the semicircular arch, indicated 
 by the dotted line. 
 
 9. The semicircular arch executed in stone, suggested by the 
 above. 
 
 10. Diagram of the different pointed arches, struck from 
 centres on the divisions of the line 3d, 4th, and 5th, and the 
 equilateral arch struck from the extremities of the equilateral 
 triangle. The figure E shows how the pointed arch may have 
 grown out of the interlacing of a series of round arches, and 
 the figure D how the same may have been suggested by the 
 intersection of the round arches in different directions. 
 
 11. Pointed arches and vaulting resulting from the abovp. 
 
 12. Plan and section of an Etruscan tomb, discovered in 
 1764 at Castel-nuovo, in Tuscany, with the pointed arch. 
 
 13. The same pointed form is seen in the vault of an aqua- 
 duct excavated in the tufo by the Romans, in the environs of the 
 antique Ardea, between Ostia and Capo d’Anzo. 
 
 14. Subterranean gallery in the catacombs of Rome, near 
 the Gate Salara. It is covered by two strong tiles inclined one 
 to the other, forming a kind of pointed vault. 
 
 15. A similar construction is observed in an antique cistern 
 seen in a vineyard near Velletri. 
 
 16. Ribs of the whale, with which the fishermen of the 
 north construct their cottages on the borders of the sea. 
 
 17. Tents of the wandering people inhabiting the southern 
 countries. 
 
 18. House in Sweden, the roof of which forms the equi¬ 
 lateral triangle. (Suecia antiqua et hodiema.) 
 
 19. Gothic arch, formed on the equilateral triangle. 
 
 20. Obelisk, triangular on plan, found by Pococke near 
 Nicœa in Asia Minor. (Description of the East, 2 vols, in fol. ; 
 London, 1743, vol. ii., pi. lxi.) 
 
 21. Cathedral of Milan; the whole of the proportions* 
 exterior and interior, of this cathedral, are said to have been 
 regulated on the equilateral triangle. (Lucio Vitruvio Pollione, 
 de Arclritectura, libri dece ; Milano, 1521, lib. i., chap, ii., p. 15.) 
 
 22. Sectional view of the Cathedral of Bologna, constructed 
 on the same principle, according to the original design for this 
 church, but when it was completed in the fifteenth century the 
 height of the nave was diminished as shown. 
 
 23. Transverse section of the Nilometer, at the south point 
 of the island of Roudhah, between Old Cairo and Giza, built by 
 the Saracens in 861 ; the vault of this edifice, as also the opening 
 in the lower part, by which the waters of the river enter, are 
 pointed. (Norden, Voyage d'Egypte et de Nubie, vol. i., pl. xxv. 
 and xxvi.) 
 
 24. Remains of an aqueduct constructed at Cairo by the 
 Arabian caliphs ; the arches are pointed. 
 
 25. Remains of an Arabian palace at Cairo. 
 
 26. Mosque of Mahonret II. at Constantinople. 
 
 27. Another mosque at Constantinople, called the Solinrania, 
 built in the seventeenth century, with pointed arches. (Des- 
 crizione topografica di Costantinopoli ; Bassano, 1794, in 4to. 
 
 28. Exterior of the Holy Sepulchre at Jerusalem; the 
 arches are pointed. (Trattato de’ sacri edifizj di Terra Santa ; 
 Firenze, 1620, pl. xxxii.) The general plan is given pl. lxxiii., 
 No. 44. 
 
 29. Bridge in Georgia. 
 
 30. Portion of an aqueduct at Bourgas, near Constantinople ; 
 see pl. xxvii., Nos. 17, 18, and 19. 
 
 31. Saloon called the “ Paradise,” seen by Chardin in a 
 garden at Ispahan. (Voyage en Perse, vol. ii., pl. xlv., p. 84.) 
 
 32. Palace in the same town. (Ibid, pl. xlviii., p. 101.) 
 
 33. Pagoda at Deogur in India. (Hodges, Collection of 
 Indian antiquities.) 
 
 34. Remains of a palace at Gasipour, on the borders of the 
 Ganges. (Ibid.) 
 
 35. Bridge over the River Odoanulla, near Rajemahel, six¬ 
 teenth century. (Ibid.) 
 
 36. Triumphal arch and mausoleum of an Indian vizir ; 
 built in the fourteenth century. (Ibid.) 
 
 37. Different kinds of arches employed in the above. 
 
 38. The saloon on the ground floor of the Arabian palace, 
 the Zisa, near Palermo; see pl. xliv., Nos. 12, 13, 14, 15, 
 and 16. 
 
 39. Interior of the royal palace, Palermo, founded in 1132 
 by Roger, first king of Sicily. 
 
 40. The horseshoe arch. 
 
 41. The gate of Victory, Cairo. (Cassas, Voyage Pittoresque 
 de la Syrie, de la Phœnicie, de la Palestine, et de la basse 
 Egypte, in fol. fig.) 
 
 42. Modification of the horseshoe arch at the summit. 
 
 43. The same form of arch from the Alhambra. 
 
 44. The section of an Arabian boat reversed, showing an 
 j analogous form. 
 
 45. The Arabian boat in its natural position. 
 
 46. Form of the tents in use amongst the Moors. (Chenier, 
 Recherches historiques sur les Maures, vol. iii., p. 103.) 
 
 47. Plan and section of an Arabian bath at Bude in Hun¬ 
 gary. (Fischer, Histoire de l’Architecture.) 
 
 48. Door of an ancient Monastery in Sweden. (Suecia 
 antiqua et hodiema.) 
 
 49. Gate of a similar form, from an ancient building in 
 England. 
 
 50. Door of the ancient Hotel Barbetti, Paris, as it appeared 
 in 1748. (Mémoires de l’Academie des inscriptions, vol. xxi., 
 p. 519.) 
 
 51. Door of the cloister of the Monastery of S‘“- Scholastica 
 at Subiaco ; vide pl. xxxv., fig. P. 
 
 52. Plan and view of a triumphal arch at Antinoé, Antino- 
 polis, in Egypt. (Montfaucon, Supplement a l’Antiquité Expli¬ 
 quée, vol. iii., pl. lv.) 
 
 53. Antique capital from the Villa Adriana, near Tivoli, 
 which has some analogy with the capitals of the columns of the 
 triumphal arch of Antinopolis. 
 
 54. Capital of one of the columns of the triumphal arch. 
 
 55. Similar capital from the pilasters of the gate of Adrian 
 in Athens. (Le Roi, Ruines des plus beaux Monumens de la 
 Grèce, part ii., pl. xxxi.) 
 
THIRD PART. 
 
 THE REVIVAL OF ARCHITECTURE ABOUT THE MIDDLE OF THE 
 FIFTEENTH CENTURY. 
 
 PLATE XLVII. 
 
 PLAN AND SECTION OF THE CHURCH OF ST. LAURENCE AT FLORENCE, BY PHILIP BRUNELLESCHI, 
 
 THE PRINCIPAL AUTHOR OF THE REVIVAL OF ARCHITECTURE IN THE FIFTEENTH CENTURY. 
 
 1. General plan of the Church of St. Laurence, commenced in 1425, constructed from the design of Philip 
 Brunelleschi, and finished after his death, in 1444. At the angles of the transepts are placed, on the left, 
 the ancient sacristy, built by Jean de Medicis; and on the right, the new sacristy, called the Chapel of 
 the Princes, built in 1520 by order of Leo X., from the designs of Michael Angelo; the plan and 
 section are given pi. lix. 
 
 2. Longitudinal section of this church ; the nave is decorated with Corinthian columns. 
 
- ' '’/SrWjft?, </<*/ id? 't/nedd, -/u 
 
PLATE XLVIII 
 
 INTER-COLUMNATION AND DETAILS OF THE INTERIOR ORDER OF THE CHURCH OF ST. LAURENCE 
 AT FLORENCE, BY BRUNELLESCHI. FIFTEENTH CENTURY. 
 
 1. One of the divisions of the nave of the Church of St. Laurence. 
 
 2. Details of the bases and capitals of the columns. 
 
 3. Details of the bases and capitals of the pilasters. 
 
 4. Profile of the entablature. 
 
 5. Profile of the archivolt. 
 
 6. Section of the circular windows over the entablature. 
 
 Architecture M 
 
PLATE XLIX. 
 
 PLAN, SECTION, ELEVATION, AND DETAILS OF THE CHURCH OF THE HOLY GHOST AT FLORENCE, 
 BY BRUNELLESCHI. FIFTEENTH CENTURY. 
 
 1. Plan of the Church of the Holy Ghost at Florence; commenced in 1435, from the designs of Philip 
 BruneUesclii, and terminated in 1481, thirty-seven years after his death. (Richa, Notizie istoriche delle 
 chiese Florentine, 10 vols, in 4to. fig. ; Firenze, 1754-1762, vol. Lx., p. 11.) 
 
 2. Section of the same. 
 
 3. The posterior façade of the church. 
 
 4. One division of the nave. 
 
 On comparing the Church of St. Laurence and the Church of the Holy Ghost with that of the Apostles, 
 engraved at pi. xxv., Nos. 8 and 9, one is struck with the analogy, and must agree with Vasari, that 
 the study of this ancient church, erected at Florence in the ninth century, had greatly contributed to 
 form the taste of Brunelleschi. (Vasari, Vite de’ Pittori, etc., vol. L, pp. 75 and 29.) 
 
PLATE L. 
 
 COLLECTION OF THE PRINCIPAL WORKS OF ARCHITECTURE BY PHILIP BRUNELLESCHI. 
 FIFTEENTH CENTURY. 
 
 1, 2, 3, 4, 5, 6, 7. Plan, section, and details of the Church 
 of St. Laurence at Florence. 
 
 8, 9, 10, 11, 12, 13, 14. Plan, section, elevation, and details 
 of the Church of the Holy Ghost at Florence, one of the last 
 works of Brunelleschi. 
 
 15. Elevation of the façade of the Pitti palace at Florence, 
 one of the most imposing productions of the genius of Brunel¬ 
 leschi, who raised it to the entablature of the first story only ; 
 the second story was added by Ammanati, when Cosma I., who 
 bought this palace of the Pitti family in 1549, entrusted to him 
 the continuation of the works ; it was at this period also that 
 the windows with consoles and pediments were placed within 
 the arcades of the ground floor. 
 
 16. Transverse section of the small temple in the gardens of 
 the Monastery of S u - Maria degli Angeli at Florence; this 
 building, commenced by Brunelleschi for the family of the Sco- 
 lari, was never finished, the want of money having arrested the 
 construction at the height of about two-thirds of the order of 
 the interior: The entire figure, as here given, is taken from an 
 ancient drawing by Brunelleschi, still preserved in the monas¬ 
 
 tery, and which has been published with very judicious observa¬ 
 tions by M. Onofrio Boni. (Memorie per le belle arti ; Roma, 
 1786, vol. ii., p. 37.) 
 
 17. Plan of the above, octagonal within, and a figure of six¬ 
 teen sides without, imagined by Brunelleschi no doubt to dimi¬ 
 nish the thickness of the walls. 
 
 18. Elevation of the celebrated cupola of the S“- Maria delle 
 Fiore cathedral of Florence, the most important of the works 
 of Brunelleschi, and the last example of the employment of 
 the pointed arch. Plan and section of this cupola are given 
 pi. lxvii., No. 16. 
 
 19. Scaffolding invented by Brunelleschi for the construction 
 of the cupola of S“- Maria delle Fiore, fr om the engraving which 
 was given by the Senator Nelli. (Studio d’ Architettura civile ; 
 Firenze, 1755, in fol. fig., vol. iv., pi. viii., B.) It was constructed, 
 according to Vasari, with a perfection unknown till that time, 
 and with such solidity that the workmen were enabled to raise 
 and work their materials with the same facility as if they had 
 been upon terra firma. 
 
PLATE LI. 
 
 PLAN, ELEVATION, AND DETAILS OF THE CHURCH OF ST. FRANCIS AT RIMINI, FINISHED FROM THE DESIGNS 
 OF LEON BAPTISTA ALBERTI. FIFTEENTH CENTURY. 
 
 1. General plan of St Francis at Rimini, commenced in the 
 Gothic style, by the order of Sigismond Malatesta, lord of this 
 city, and continued in 1447, by Leon Baptista Alberti, according 
 to the principles of ancient architecture ; the parts of the plan 
 engraved with a strong tint are those which he added to the 
 body of the church. 
 
 2. Longitudinal section of the nave of the same. 
 
 3. One of the great arches at the entrance of the chapel, 
 already given, pi. xlii., No. 23. 
 
 4. Pedestals of some of the pilasters, from the great arches ; 
 the elephants were the emblems of Sigismond. 
 
 5. Side elevation of the Giurch of St. Francis; the sarcophagi 
 between the arches contain the ashes of the savans and men 
 of letters who illustrated the court of Sigismond. 
 
 6. Profile of the impost, and portion of the archivolt of the 
 arches of the exterior. 
 
 7. Principal façade of the Church of St. Francis; in the 
 freize is the following inscription :— 
 
 PANDVLFVS MALATESTA PANDVLFI FIL FECIT ANNO GRATIAE MCCCCL 
 
 The motive of the composition of this façade appears to have been 
 inspired from the antique Arch of Augustus, still seen at Rimini. 
 The upper part of the façade was never finished, and the designs 
 and models of Alberti having been lost, we can only judge of his 
 intention by a medal which was struck at this period, engraved 
 at No. 12. 
 
 8. Elevation of the Arch of Augustus, referred to above. 
 
 9. Detail of the order employed on the façade of St. Francis; 
 the capital presents a bizarre mixture of the Doric and Ionic ; 
 these details are repeated pi. lxx., No. 34. 
 
 10. Medal of Isotta of Rimini, wife of Sigismond Malatesta, 
 celebrated for her courage, and the graces of her mind; on one side 
 is the head of a woman, with this legend: — isottae arim in en si 
 and on the other side is a closed book with the word elegiae 
 (Museum Mazzuchellianum, vol. i., pi. xvi.) 
 
 11. Mausoleum of Isotta, as it appeal's in one of the chapels 
 of the Giurch of St Francis ; on the sepulchral urn, which is 
 supported by two elephants, emblems of Sigismond, is this 
 inscription:— 
 
 D ISOTTAE ARIMINENSI B M SACRUM MCCCCL 
 
 (Notizie intorno ad Isotta, in the Raccolta Milanese, 1756.) 
 
 12. Medallion of Sigismond Malatesta; on one side is the 
 head of this prince, with the legend 
 
 SIGISMVNDVS PANDVLFVS MALATESTA PAN F 
 
 and on the reverse, the façade of the Chui'ch of St. Francis, sur¬ 
 mounted by a cupola, with which it would appear Leon 
 Baptista Alberti intended to crown the edifice ; around it are 
 these words :— 
 
 PRAECL ARIMINI TEMPLVM AN GRATIAE V F MCCCCL 
 
 (Museum Mazzuchellianum, pi. xiv.) 
 

PLATE LII. 
 
 CHURCHES OF ST. ANDREW AND ST. SEBASTIAN AT MANTUA, ERECTED FROM THE DESIGNS OF 
 LEON BAPTIST A ALBERTI. FIFTEENTH CENTURY. 
 
 1. Longitudinal section of the Church of St Andrew at 
 Maunta, commenced in 1472 from the designs of Leon Baptista 
 Alberti, and terminated after his death, which happened the 
 same year. The transepts were not completed till 1600, and the 
 dome is the work of Philip Juvara in 1732. 
 
 2. Transverse section through the transepts. 
 
 3. Plan of the Church of St. Andrew; the form of the 
 Latin cross, the regular distribution of the chapels, the entrances 
 to which form the decoration of the nave, have been often 
 imitated, and this church has in fact served as a model to many 
 others since erected. 
 
 4. Elevation of the entrance vestibule. 
 
 5. Details of the Corinthian order decorating the entrance 
 vestibule. 
 
 6. Details of one of the fluted pilasters supporting the 
 central arch of the façade of the vestibule, No. 4. 
 
 7. Cornice of the principal door to the church under the 
 vestibule. 
 
 8. Console, serving as key-stone of the centre arch of vestibule. 
 
 9. Plan of lower story of the Church of St. Sebastian at 
 Mantua, erected from the designs of Leon Baptista Alberti. 
 
 10. Plan of the upper story, presenting the form of tire 
 Greek cross. 
 
 11. Entrance façade of the same church. The irregularities 
 and defects observable on this façade ought not to be attributed 
 to Alberti, but to those who after him had the charge of finishing 
 this work. Vasari mentions a certain Luke of Florence, who was 
 engaged to finish the works of Alberti at Mantua. (Vasari, 
 Vite de’ Pittori, etc., vol. i., p. 325.) 
 
 12. Section of the same church. 
 
 13. Detail of the architrave of the external doorway, with 
 the frieze and cornice. 
 
 14. Profile of the entablature, terminating the principal 
 façade of the church. 
 
 15. Capital of an antique pilaster, found in the Villa Adriana 
 near Tivoli. 
 
 16. Another capital from the pilasters from the Arch of 
 Adrian at Athens ; these capitals are placed here to show their 
 analogy with that employed by Alberti in the Chapel Rucellai, 
 engraved No. 21. 
 
 17. Plan of the chapel of the family of Rucellai in the 
 Church of S. Pancrazio at Florence, built by Leon Baptista 
 Alberti in 1467, for Jean Rucellai ; in the centre is the plan of 
 the Holy Sepulchre, constructed by him after the model of that 
 which is at Jerusalem. 
 
 18. Façade of the Chapel Rucellai, towards the nave of S. 
 Pancrazio. 
 
 19. Transverse section of the same ; above the small door 
 to the entrance to the Holy Sepulchre is tliis inscription :— 
 
 JOHANNES RVCELLARIVS PAULI FIL 
 
 VT INDE SALVTEM SVAM PRECARETVR VNDE OMNIVM 
 
 CVM CHRISTO FACTA EST RESVRRECTIO 
 
 SACELLVM HOC AD INSTAR HYEROSOL 
 
 SEPVLCRI FACIVNDVM CVRAVIT MCCCCLXVII 
 
 20. Base, capital, and profile of the entablature of the two 
 Corinthian columns which decorate the entrance to the chapel ; 
 the frieze of this entablature is ornamented with twisted flutings, 
 a kind of ornament often employed by Alberti and Brunelleschi. 
 
 21. Details of the order which decorates the Holy Sepulchre 
 in the centre of the chapel ; the exterior of this small temple is 
 covered with precious marbles, in compartments arranged by 
 Alberti. 
 
 ARCHITECTURE N 
 
PLATE LUI. 
 
 TRIUMPHAL AECH ERECTED AT NAPLES IN HONOUR OF ALPHONSO THE FIRST OF ARAGON. 
 FIFTEENTH CENTURY. MILITARY FORTIFICATIONS. 
 
 ]. Façade of a triumphal arch at Naples, in the Castel- 
 nuovo, erected in 1445 by the city of Naples in memory of the 
 triumphal entry into this city of Alphonso I. of Aragon; it 
 is the work of Pietro di Martino, architect and sculptor of 
 Milan. 
 
 2, 3, 4, 5. Details at large. 
 
 MILITARY FORTIFICATIONS. 
 
 6. Plan and elevation of part of the ancient boundary walls 
 of Rome, between the gates Pinciana and Salaria. 
 
 7. Ancient gate of Rome, near the gate of St Laurence, 
 of the time of Aurelius. 
 
 8. Portion of the walls of Rome, between the gates of St. 
 John and St. Laurence. 
 
 9. Ruins of the fortress of Lucera in Apulia, built by the 
 Emperor Frederick II. in the thirteenth century. 
 
 10. Plan and elevation of one of the gates of Fondi, frontier 
 town of Naples. 
 
 11. View of the fortress of Rimini, erected in the fifteenth 
 century by Sigismond Malatesta ; this engraving is taken from 
 the reverse of a medallion by Matteo Pasti in 1446; on the 
 other side is the head of Sigismond, with these words ;— 
 
 SIGISMVNDVS PANDVLPLVS MALATESTA PAN F 
 
 12. General plan of the same fortress in its present state. 
 
 13. Bastion de San Procolo, on the north side of the bound¬ 
 ary walls of the city of Verona. This bastion, circular on plan, 
 is a portion of the ancient fortification, much earlier than the 
 fifteenth century. 
 
 14. Bastion called La Maddalena, near the Porta del 
 Vescovo, constructed in 1527, one of the first angular bastions. 
 
 15. Bastion called del Como, 1530. 
 
 16. Bastion di Spagna; this form of bastion was invented by 
 San Micheli. 
 
 17. Gate called La Porta-nuova, built by San Micheli, from 
 1533 to 1535. 
 
PLATE LIV 
 
 DIFFERENT EDIFICES ERECTED AT ROME AND NAPLES. THIRTEENTH, FOURTEENTH, 
 AND FIFTEENTH CENTURIES. 
 
 1. Façade of the Palace of St. Mark, called of Venice , at 
 Rome ; fifteenth century. This vast edifice is the work of 
 Paul IL, Pietro Barbo, of Venice, who commenced it when he 
 was only cardinal, and continued and added to it in 1464, when 
 he was made pope. It was erected from the designs of Giuliano 
 de Maiano, architect and sculptor of Florence. (Vasari, Vite de’ 
 Pittori, vol. i., p. 302.) 
 
 2. Portion of one of the wings of this building, on a larger 
 scale. 
 
 3. Interior view of the court of the same palace. 
 
 4. One of the columns, with its pedestal and entablature, 
 from the court on the ground floor. 
 
 5. General view of the Palace from the Corso. 
 
 6. 7. Elevations and ground plan of the Palace of Poggio I 
 Reale, built near Naples by Giuliano de Maiano. 
 
 8, 9, 10. Plans of the basement and first and second stories 
 of the Tower of S'“- Clara at Naples. 
 
 11. Elevation of the Tower of S“- Clara, Naples, commenced 
 in 1328 from the design of Tomaso de’Stefani, called MasuccioII. ; 
 the two upper stories, C and D, were not completed till the 
 beginning of the seventeenth century. 
 
 12. Transverse section of the towers, showing the portico of 
 the edifice, erected from the design of Masuccio. 
 
 13. Base of column in window B. 
 
 14. Small window, with the pointed arch, on the story B. 
 
 15. One of the metopes of the Doric frieze of the second 
 story, C ; the crossed arms carved upon it are armorial bearings 
 of the order of St. Francis, under whose rule were the nuns of 
 S ta - Clara. 
 
 16. Ionic capital of the pilasters of the story marked D. 
 
 17. Doric capital of the second story. 
 
 18. One of the consoles of the cornice of the windows of the 
 third story. 
 
 19. 20. Elevation and section of a doorway to the court of 
 the Church of S“- Clara, by Masuccio II. 
 
 21. Arches from the cloister of the Church of S“- Clara, by 
 Masuccio II. 
 
 22. One of the windows of the Church of St. John at Car- 
 bonara, Naples, by the same Masuccio II. 
 
 23. Principal arch of the interior of the Church of St. Lau¬ 
 rence, Naples, by the same. 
 
 24. Great arch, still seen at Foggia in the kingdom of 
 Naples; the only remains of a palace built in 1223, by order, 
 and even under the direction of Frederick II. 
 
PLATE LV. 
 
 ANCIENT THEATRE OF THE CONFRATELLI DELLA PASSIONE AT VELLETRI NEAR ROME. 
 FIFTEENTH CENTURY. 
 
 1. General plan of the stage of an ancient theatre of the Confratelli della Passione at Velletri near Rome. 
 
 2. Elevation of the same in the state it was found in 1765, from a drawing made at that period. 
 
 3. Transverse section of the same. 
 
 4. Detail of one of the capitals. 
 
 5. View of an antique theatre, seen by Serlio between Fondi and Terracina ; given here to show the analogy 
 which exists with the Theatre of Velletri. (Serlio, Libro terzo delle Antichità, p. 56 ; Venezia, 1540, in fol.) 
 
FOURTH PART. 
 
 THE RE-ESTABLISHMENT OF ARCHITECTURE AT THE END OF THE 
 FIFTEENTH CENTURY AND THE BEGINNING OF THE 
 SIXTEENTH CENTURY. 
 
 PLATE LVI. 
 
 STUDIES OF ARCHITECTURE DRAWN FROM THE ANTIQUE BY BRAMANTE AND ANTONIO SANGALLO. 
 
 1. Ionic capital, drawn by Antonio Sangallo, found near S'* - Agnese outside the walls, as we learn from 
 the writing on the drawing :— 
 
 Di la da Santa Angniesa, in uno cannetto. 
 
 2. Side view of the same. 
 
 3. Method of tracing the volute of the same. 
 
 4. Perspective view of a portion of a Corinthian entablature drawn by Antonio Sangallo. The original was 
 discovered under a church, and near the house of the Countess Massa, on the Place Navona, according to 
 the writing on the drawing :— 
 
 Questa fu cavatta a Navona sotto una chiesa apreso alla casa della Coutesa di Masa. 
 
 5. Half of a composite capital drawn from the antique by Bramante. 
 
 Architecture 0 
 
PLATE LVII. 
 
 THE PRINCIPAL ARCHITECTURAL WORKS OF BRAMANTE LAZZARI. PUBLIC BUILDINGS. 
 COMMENCEMENT OF THE SIXTEENTH CENTURY. 
 
 1. Plan of the staircase executed by Bramante in that part 
 of the Palace of the Vatican called the Belvedere. 
 
 2. Section of the same; the staircase is composed of a 
 continuous inclined plane making five revolutions, supported by 
 columns, the order of which changes at each revolution, com¬ 
 mencing with the Tuscan and terminating with the composite. 
 
 3. The Tuscan order. 
 
 4. The Doric. 
 
 5. The Ionic. 
 
 6. The composite. 
 
 7. 8. Profile and face of the spiral cornice. 
 
 9. Façade of the house built by Bramante in 1513, for 
 Raphael d'Urbino, in the Strada di Borgo-nuovo, near St. 
 Peter’s. This house was demolished at the time of the con¬ 
 struction of the colonnade in front of this church ; it is here 
 engraved from a work entitled Pallazzi di Roma, de’ piu celebri 
 Architetti, disegnati da Pietro Ferrerio, book i., p. xv. 
 
 10, 11. Portion of ground floor and general plan of the arch 
 of a vast edifice, commenced by Bramante in the Strada Giulia 
 in Rome, but left incomplete in consequence of the death of 
 Pope Julius II. 
 
 12, 13, 19. Plan of the ground floor; transverse section and 
 
 elevation of the principal front of the Palace of the Cancelleria, 
 erected in Rome by Bramante in 1495. 
 
 14, 15. Doric columns, in granite, supporting the arches of 
 the ground and first floors of the court. 
 
 16. Capital of the Doric column, No. 15. 
 
 17. Profile of the entablatures over the arches of the ground 
 and first floor of the court. 
 
 18. Base, capital, and entablature of the composite order of 
 the upper story of the court. 
 
 20, 21. Facade and ground plan of the palace, built by 
 Bramante in 1504, at Rome, for the Cardinal Adrian de Corneto. 
 
 22, 23, 24. Longitudinal section, general plan, and trans¬ 
 verse section of the court of the Belvedere of the Vatican, 
 represented as it was designed and partly executed by Bramante 
 in 1503, during the pontificate of Julius II. The court was after¬ 
 wards divided by an edifice which Sixtus V. erected for the 
 library of the Vatican. 
 
 25. Elevation of a portion of the end of the court on a larger 
 scale, showing the great niche. 
 
 26. Part of the longitudinal section on a larger scale, showing 
 the detail of the orders which decorate the four stories of this 
 court. 
 

PLATE LVIII. 
 
 CONTINUATION OF THE WORKS OF BRAMANTE LAZZARI. SACRED EDIFICES. COMMENCEMENT OF THE 
 
 SIXTEENTH CENTURY. 
 
 1. General plan of the Basilica of St Peter, as Bramante 
 designed it. Tins plan, commenced in 1513, was only partly 
 executed ; the architects who succeeded him in the direction of 
 the works made so many changes that, with the exception of the 
 four great arches supporting the cupola, scarcely anything of the 
 original design remains, and the idea itself would have been lost 
 had not Serlio, his disciple, taken care to preserve the design. 
 (Serlio, Libro terzo delle Antichi tà ; Venezia, in fol., 1540, 
 p. xxxvii. Bonanni, Historia Templi Vaticani, pi. x., p. 50. 
 
 2, 3. Plan, elevation, and section of the cupola, as proposed 
 by Bramante. (Bonanni, Ibid, pi. xii. and xi.) 
 
 4, 5. Plan and transverse section of the cloister of the col¬ 
 legiate house called della Pace in Rome, commenced by Bramante 
 shortly after his arrival in Rome in 1504, by order and at the 
 cost of Cardinal Olivier Caraffa. (Vasari, Vite de’ Pittori, 
 vol. ii., p. 44.) 
 
 6. Portion of the section No. 5 on a larger scale. 
 
 7. Detail of the entablature of the upper order. 
 
 8. One of the composite columns between the pilasters of 
 the second story. 
 
 9. Detail of the Ionic order of the ground floor. 
 
 10. General plan of the cloister of the Monastery of S. 
 Pietro in Montorio, Rome, according to the design of Bramante, 
 preserved by Serlio ; the circulai- temple in the centre was alone i 
 executed. 
 
 11. 12, 16. Plan, elevation, and transverse section of the 
 
 small temple, generally regarded as one of the finest works of 
 Bramante, and the only modem temple that Palladio considered 
 fitted to appear amongst the ancient temples he had collected. 
 (Palladio, I quattro libri d’Architettura ; Venezia, 1570, in fol., 
 book iv., chap, xvii., p. 64.) 
 
 13. One of the Doric columns of the portico. 
 
 14. Details of the order. 
 
 15. Profile of the exterior entablature beneath the dome. 
 
 17. Profile of the interior cornice under the dome. 
 
 18. Details of the Doric order in the interior of the temple. 
 
 19. One of the Doric pilasters of the interior. 
 
 20. 21, 22. Plan, elevation, and section of the Church of 
 The Consolation, built from the design of Bramante, near Todi. 
 
 23. Doric base and capital of the four great pilasters in the 
 centre of the church. 
 
 24. Ionic base and capital of the two orders of pilasters 
 decorating the interior of the church. 
 
 25. Corinthian capital of the first order of the exterior 
 decoration. 
 
 26. Composite capital of the second order. 
 
 27. Consoles serving as key-stones to the archivolts round 
 the great niches. 
 
 28. Profile of the imposts receiving the archivolts. 
 
 29. Profile of the circular entablature above the four arches 
 supporting the cupola. 
 
 30. Entablature over the four great pilasters of the interior. 
 

 PLATE LIX. 
 
 PLANS, ELEVATIONS, AND SECTIONS OF THE PRINCIPAL BUILDINGS ERECTED FROM THE DESIGNS OF 
 MICHAEL ANGELO BU ONAROTTL SIXTEENTH CENTURY. 
 
 1. Façade of the Porta Pia on the side towards the city, 
 erected from the designs of Michael Angelo, under the pontificate 
 of Pius IV., from 1559 to 1566 ; it was never completed. 
 
 2. Section of the court of the Farnese palace, Rome ; the 
 general plan of this palace and the Doric porticos of the ground 
 floor are by Antonio Sangallo, the Ionic order of the first floor is 
 hy Vignola, the decoration of the upper story is by Michael 
 Angelo, as also the famous entablature, which so majestically 
 crowns the exterior of this edifice. (Ferrerio, Palazzi di Roma, 
 book i., pi. 3, 4, 5, 6.) 
 
 3. Façade of one of the palaces constructed at Rome by 
 Michael Angelo, on the Place of the Capitol. (Falda, Nuovi 
 disegni de’ Palazzi di Roma, pi. ix.) 
 
 4. Staircase to the senatorial palace on the Place of the 
 Capitol, work of Michael Angelo. (Vasari, Vite de’ Pittori, 
 vol. iii., p. 265. Falda, Ibid, pi. ix.) 
 
 5. General plan of the Place of the Capitol hy Michael 
 Angelo ; on the left is the palace in which is the celebrated 
 Museum of Antiquities; on the right, the palace of the Conserva- 
 tore ; at the end, the palace of the Senator ; and in the centre, the 
 pedestal, on which is the equestrian statue of Marcus Aurelius. 
 (Vasari, Ibid, p. 266.) 
 
 6. Plan of a portion of the Baths of Diocletian ; Michael 
 
 Angelo converted the principal hall into a church, by order of 
 Pius IV., under the title of “ Our Lady of the Angels,” for the 
 use of the Carthusians. 
 
 7. Longitudinal section of the principal hall of the Baths of 
 Diocletian, and before it was converted into a church. 
 
 8. Plan of the Church of Oui- Lady of the Angels, as it was 
 altered in 1749 to the form of a cross. (Description de la ville 
 de Rome, par Filippo Titi, 1763, p. 285.) 
 
 9. Longitudinal section of the same in its present state. 
 
 10. 11, 12, 13. Plan, front elevation, transverse section, and 
 back elevation of the Church of St. Peter, as designed by 
 Michael Angelo. (Bonanni, Templi Vaticani Historia, pi. xvii., 
 p. 60 and following. Vasari, Vite de’ Pittori, vol. iii., p. 
 262.) 
 
 14, 15, 16. Plan, portion of the interior decoration, and 
 transverse section of the sacristy of the Church of St. Laurence 
 at Florence, and called the chapel of the Princes, erected from 
 the designs of Michael Angelo. (Vasari, Ibid, vol. iii., pp. 236 
 and 240. Ruggieri, Scelta di Arcliitetture di Firenze, vol. ii., 
 pi. i.) 
 
 17, 18, 19. Portion of the section, plan of the vestibule, and 
 transverse section of the vestibule, of the library of St. Laurence. 
 (Vasari, Ibid, p. 236. Ruggieri, Ibid, vol. iv., pi. iii. and x.) 
 

PLATE LX. 
 
 DETAILS AND PROFILES FROM THE PRINCIPAL BUILDINGS CONSTRUCTED FROM THE 
 DESIGNS OF MICHAEL ANGELO. SIXTEENTH CENTURY. 
 
 1. Portion at large from the façade of one of the palaces on 
 the Place of the Capitol. 
 
 2. Base and capital of the Ionic columns of the portico, on 
 the ground floor of the same. 
 
 3. Pedestal of the equestrian statue of Marcus Aurelius. 
 
 4. One of the inter-columniations of the first and second story 
 of the Farnese Palace; the Ionic order of the first is by 
 Vignola. 
 
 5. Capital and cornice of the second story. 
 
 6. Profile of the entablature crowning the exterior façade of 
 the Farnese Palace. 
 
 7. Portion of the exterior of the Basilica of St. Peter. 
 
 8. Profile of the exterior basement of the Church of St. 
 Peter, with the base of the pilasters. 
 
 9. Corinthian capital of the pilasters and the entablature 
 round the exterior of the Church of St. Peter. 
 
 10. Base and cornice of the attic which terminates the 
 exterior decorations of the same. 
 
 11. Interior order of the library of St. Laurence at 
 Florence, with the arrangement of the desks for enclosing the 
 manuscripts. (Ruggieri, Scelta di Architetture di Firenze, 
 vol. iv., pi. x.) 
 
 12. Portion of the reading desks and book-cases at large. 
 
 13. Portion of the section of the vestibule of the library of 
 St. Laurence. (Ruggieri, Ibid, vol. iv., pi. iii.) 
 
 14. Interior door from this same church. 
 
 15. Capital of column of the first order of this vestibule. 
 
 16. One of the great consoles in front and profile which 
 support the columns of the lower order of this vestibule. 
 
 17. Part of the section of the Chapel of the Princes, de¬ 
 scribed at Nos. 14, 15, and 16 of the preceding plate. 
 
 18. Details of the interior decoration of the same chapel. 
 
 Architf.ctcrk P 
 
PLATE LX I . 
 
 PLANS, SECTIONS, AND DETAILS OF THE ANCIENT AND THE NEW BASILICA OF ST. PETER OF THE VATICAN, 
 ROME. FOURTH, FIFTEENTH, SIXTEENTH, AND SEVENTEENTH CENTURIES. 
 
 1. Longitudinal section of the ancient Basilica of St. Peter 
 of the Vatican, as constructed in the fourth century by order of 
 Constantine. This section is taken from Bonanni, who himself 
 borrowed it from the work of Carlo Fontana, entitled, “ II 
 Tempio Vaticano and this last copied it from a drawing made 
 at Rome in the time of Vasari, and preserved in the Medicèan 
 Library at Florence. (Bonanni, Templi Vaticani Historia, pi. v., 
 fig. iii., pp. 13 and IT. Carlo Fontana, 11 Tempio Vaticano; 
 Roma, 1694, in fol. fig., book ii., chap, x.) 
 
 2. General plan of the same. (Bonanni, Ibid, pi. ii., p. 11.) 
 
 3. Another plan of the same, on which is indicated in a 
 lighter tint the successive additions made by different pontiffs to 
 the body of the church erected by Constantine. (Bonanni, Ibid, 
 pi. vii., p. 22.) 
 
 4. Figure of one of the tiles of terra cotta, for min g the roof 
 of the ancient Basilica, with the following inscription pressed 
 upon it:— 
 
 REGNANTE THEODORICO DOMINO NOSTRO FELIX ROMA 
 
 from which it would appear that this was one of the tiles placed 
 on the roof in the fifth or sixth century by Theodoric. (Bonanni, 
 Ibid, pi. ix., fig. C, pp. 15 and 34.) 
 
 5. Another tile of the same kind, with this inscription ;— 
 
 THEODORICO BONO ROMA 
 
 (Bonanni, Ibid, pi. ix., fig. B.) 
 
 6. Perspective view of the magnificent canopy or Baldac- 
 chino of bronze, erected over the Confession, and in the centre of 
 the cupola of the new Basilica, from the designs of Bemino. 
 (Bonanni, Ibid, pi. xlix., p. 128.) 
 
 T. One of the divisions of the nave of the new Basilica. 
 
 8. General section of the Basilica of St. Peter. 
 
 9. General plan of the Basilica of St. Peter ; the subter¬ 
 ranean church is shown in a lighter tint. 
 
Arch. 
 
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PLATE LXIT. 
 
 GENERAL VIEW OF THE BASILICA OF ST. PETER, AND THE PALACE OF THE VATICAN. 
 
PLATE LXIII. 
 
 FORMS OF THE PRINCIPAL BAPTISTERIES, PECULIAR EDIFICES, OWING THEIR ORIGIN TO THE ESTABLISHMENT 
 
 OF THE CHRISTIAN RELIGION. 
 
 1. Section of a portion of the catacomb of St. Pontien at 
 Rome ; a well of water is still seen, which was used to administer 
 baptism in the early periods of the church, from the first to the 
 fourth century. 
 
 2. Plan of this place, with the staircase by which it is 
 reached, and the canal which conducts the water. 
 
 3. Perspective hew of the same ; on the wall at the back is 
 a fresco painting, representing the Baptism of Christ; it is 
 engraved pi. x. of the section of Painting, No. 8. 
 
 4. 5. Plan and elevation of an antique Doric capital, pre¬ 
 served in the Church S u - Prisca in Rome; the abacus was 
 hollowed out to contain the baptismal water, according to the 
 inscription on the borders. 
 
 6, 7. Side elevation, section, and plan of an antique Temple 
 of Jupiter, within the enclosure of the Palace of Diocletian at 
 Spalatro. (Adams, Ruins of the Palace of the Emperor 
 Diocletian at Spalatro, pi. xxix. and xxxiv.) This building 
 of the third century is given here to show the analogy which it 
 presents to the principal baptisteries which were erected since 
 that period. 
 
 8, 9. Plans, elevation, and section of the Baptistery of 
 Constantine, near the Church of St. John Lateran at Rome. 
 
 10. Antique sarcophagus of porphyry ; in the centre of this 
 edifice is a baptismal font. 
 
 11, 12. Plans of the groimd floor, and at the level of the 
 first and second orders ; elevation and section of the Baptistery 
 of Florence, constructed in the sixth century. (Ruggieri, Scelta 
 di Architetture di Firenze, vol iv., pi. xvii.) 
 
 13, 14. Plan and section of the baptistery of the Cathedral 
 of Citta-nuova in Istria. 
 
 15. Modern baptismal font in a church at Radicofani. 
 
 16, 17. Plan, elevation, and section of a baptismal font 
 in S“ Maria in castello at Cometo. 
 
 18, 19. Elevation, section, and plans of the baptistery of the 
 Cathedral of Ravenna, fifth century. (Ciampini, Vetera Moni- 
 menta, vol. i., pi. lxix., p. 233. Fabri, Memorie sagre di Ravenna 
 antica; Venezia, 1664, in 4to., p. 214.) 
 
 20, 21. Elevation, section, and plans of the baptistery of 
 the Cathedral of Pisa ; constructed in 1153 by the architect 
 Diotisalvi. (Ciampini, Ibid, vol. ii., pi. vii., p. 23. Martini, 
 Theatram Basilicæ Pisanæ; Romæ, 1728, in fol. Morrona, Pisa 
 illustrate, vol. i., p. 213.) 
 
 22, 23. Plan and elevation of the baptismal font of St. John 
 in fonte at Verona. (Maffei, Verona illustrata, edit, in 8vo., 
 vol. iii., p. 115.) 
 
 24, 25. Plans and elevation of the Baptistery of St. John 
 at Parma. 
 
 26. Baptismal font in the Church of S“- Maria in via lata, 
 Rome, placed here to show, as is also No. 15, the insignificant 
 form to which the modems have reduced the baptismal font. 
 
 To complete the collection of the principal baptisteries, 
 
 See Plate VIII., Nos. 9 and 10,—The antique edifice of circular 
 form at Nocera de' Pagani near Naples, believed to have been 
 a baptistery. 
 
 See Plate XVII., No. 16,—The baptistery used by the Arians, built 
 at Ravenna, under the reign of Theodoric, and now part of the 
 oratory of S Ll - Maria in Cosmedino. 
 
 See Plate XXV., No. 31,—The baptistery of the Cathedral of 
 Torcello, one of the islands of the lagunes of Venice ; work of 
 the ninth century. 
 
 See Plate XXVIII., Nos. 3 and 9,—The small circular church of 
 the Holy Sepulchre at Bologna, which is supposed to have served 
 as baptistery to the Churob of St. Peter and St. Paul. 
 
 See Plate LXXIII., No. 9,—The baptistery of the Cathedral of 
 Parenzo in Istria. 
 
tpupr 
 
PLATE LXIV. 
 
 HISTORICAL AND CHRONOLOGICAL TABLE OF THE FRONTS OF TEMPLES BEFORE AND DURING 
 THE DECLINE OF ART. 
 
 AGE OF AUGUSTUS. 
 
 1. The Pantheon at Rome. Vide pi. i., Nos. 10, 11, 14. 
 
 2. The entrance of the Temple of Caius and Lucius, called 
 the Maison Carrée, Nismes. Vide pi. i., No. 6. 
 
 FOURTH CENTURY. 
 
 3. Façade of ancient basilica of St. Peter as built by Con¬ 
 stantine. Vide pi. lxi., Nos. 1 and 2. 
 
 FIFTH CENTURY. 
 
 4. Elevation of the ante-portico or porch before the atrium of 
 the Church of St. Clement, Rome. Vide pi. xvi., No. 2. 
 
 13. Façade of the Church of St. Bernard at Chiaravalle. 
 Vide pi. xxxvi., Nos. 23 and 24 ; pi. xlii., No. 5 ; pi. Lxviii., 
 No. 33; pi. lxx., Nos. 10, 11 ; pi. lxxiii., Nos. 17, 31, and 43. 
 
 14. Façade of S 10 - Maria in castello at Cometo. Vide 
 pi. lxxiii., No. 48; pi. xlii., No. 6; pi. lxvii., No. 9 • pi lxx 
 No. 17. 
 
 THIRTEENTH CENTURY. 
 
 15. Portico of the Church of St. Laurence outside the walls. 
 Vide pi. xxviii., Nos. 29 and 39. 
 
 16. Portico of the Church of St. Vincent and St. Anastasius. 
 Vide pL xxv., Nos. 3, 4, and 5. 
 
 SIXTH CENTURY. 
 
 5. Façade of the Church of St. Sophia of Constantinople. 
 Vide pi. xxvi., Nos. 1 and 2. 
 
 SEVENTH AND EIGHTH CENTURIES. 
 
 6. Iront of the Church of St. John in borgo at Pavia. Vide 
 pi. xlv., No. 9 ; pi. lxxiii., No. 27. 
 
 EIGHTH CENTURY. 
 
 7. Façade of the Church of St Sabas on Mount Aventine, 
 Rome, as it still appears. 
 
 NINTH CENTURY. 
 
 8. Elevation of the Church of S'*- Fosca at Torcello. Vide 
 pi. xxvi., Nos. 3, 4, 6, and 7. 
 
 TENTH AND ELEVENTH CENTURIES. 
 
 9. Façade of the Basilica of St. Zenon at Verona. Vide 
 pi. xxviii., Nos. 24, 25, 26, 27, and 28. 
 
 ELEVENTH CENTURY. 
 
 10. Façade of the Cathedral of Pisa. Vide pi. xxv. 
 Nos. 32, 33, and 34. 
 
 11. Façade of the Church of St. Miniato al monte near 
 Florence. Vide pi. xxv., Nos. 20 to 28. 
 
 TWELFTH CENTURY. 
 
 12. Façade of the Cathedral of Modena. Vide pi. lxxiii., 
 Nos. 16, 30, 39, 40, and 42; pi. xlii., No. 4. The bas-reliefs 
 which adorn the front are given in pi. xxi. of the section of 
 Sculpture. 
 
 FOURTEENTH CENTURY. 
 
 17. Façade of the Church of S“- Clara, Naples. Vide 
 pi. liv., Nos. 8 to 21. 
 
 THIRTEENTH AND FOURTEENTH CENTURIES. 
 
 18. Porch of the Cathedral of Orvieto. Vide pi. lxxiii., 
 No. 50; pL xlii., No. 11; pi. Lxx., No. 26. 
 
 FOURTEENTH CENTURY. 
 
 19. Porch of the Church of St. John the Baptist at Monza 
 near Milan. 
 
 20. Porch of the Cathedral of Cologne. 
 
 21. Porch of the Church of Notre Dame at Rouen. 
 
 22. Porch of the Cathedral of Leon in Spain. 
 
 23. Porch of the Cathedral of York. Vide pi. xli., No. 1 ; 
 pi. lxx., No. 30. 
 
 FIFTEENTH CENTURY. 
 
 24. Façade of the Cathedral of Upsala in Sweden. Vide 
 pi. xliii., Nos. 20, 21, 22, 23. 
 
 25. Façade of the Church of St. Cosimato Nunnery at Rome. 
 
 26. Façade of the Church of St. Andrew at Mantua. Vide 
 pi. lii., Nos. 1 to 8. 
 
 27. Façade of the Church of Cervia near Ravenna. 
 
 28. Façade of the Church of St. Adrian at the Campo- 
 vaccino at Rome. 
 
 29. Façade of the Church of St. Augustine at Rome. Vide 
 pi. lxxiii., No. 68; pi. xlii., No. 24; pi. lxvii., No. 13; pi lxviii 
 No. 61. 
 
 30. Front of the Church of St. Peter, as designed by Michael 
 Angelo. Vide pi. lix., lx., lxi., Ixii. 
 
 Architecture Q 
 
PLATE LX V. 
 
 TABLE OF ARCHITRAVES, USED AS BEAMS, EMPLOYED IN THE INTERIOR OF BUILDINGS DURING THE DECLINE 
 OF ART, AND THE DIFFERENT FORMS OF ARCHES WHICH WERE SUBSTITUTED FOR THEM. 
 
 1, 2. Longitudinal section and plan of the Church of S'“- 
 Maria in trastevere ; fourth century. The architrave and enta¬ 
 blature are here regularly employed, and continued horizontally 
 without break. 
 
 3, 4. Longitudinal section and plan of the Church of S'"- 
 Maria Maggiore in Rome, another example of the judicious 
 employment of the architrave and entablature. 
 
 5, 6. Longitudinal section and plan of the Church of St. John 
 of the Florentines at Rome, commenced under the pontificate 
 of Leo X., from the designs of Sansovino, and terminated by 
 James de la Porta. 
 
 7. Part of the interior order of the Baptistery of Constantine. 
 Vide pi. lxiii., Nos. 8 and 9. 
 
 8. Architrave over the columns of the Church of S. Stephano 
 rotondo. Vide pi. xii., No. 10. 
 
 9. Portion of the interior of the Temple of Peace, Rome. 
 The architrave profiles over each column. 
 
 10. 11. Entablature of the Church of St. Constance, com¬ 
 monly called the Temple of Bacchus. 
 
 12. Two divisions of the nave of the Church of St. Nicholas 
 in carcere at Rome, in which there is no trace of an entablature. 
 
 13. Portion of the nave of the Church of St. Appolinarius 
 
 in classe near Ravenna ; the arches repose on a kind of rude 
 architrave placed between them and the capitals of the columns. 
 
 14. Arches from the Cathedral of Pola. Vide pi. xxv. 
 
 15. Arcades from the Church of St. Vincent and St. Anastasius 
 near Rome. Vide pi. xxv., No. 3, 4, and 5 ; pi. lxiv., No. 16. 
 
 16. From the Church of S 1 *- Maria sopra Minerva. Vide 
 pi. lxxiii., No. 75. 
 
 17. From the Cathedral of Milan. Vide pi. xli., and lxx., 
 No. 31. 
 
 18. The use of the architrave again appears in the sixteenth 
 century in the Church of St. Peter, as well as in many other 
 churches built after its model. 
 
 19. Example of the employment of the architrave by the 
 Egyptians. 
 
 20. Part of the façade of the Palace Cavalli at Venice; in 
 the place of an entablature we have arches interlaced in the 
 Moorish style. 
 
 21. From the Mosque of Cordova. 
 
 22. Another part of the interior of the Mosque of Cordova ; 
 the interlacing arches offer some analogy to those of Palace 
 Cavalli, No. 20. 
 
PLATE LX VI. 
 
 PRINCIPAL FORM OF THE VAULTS AND CEILINGS EMPLOYED IN THE SACRED BUILDINGS 
 DURING THE DECADENCE OF ART. 
 
 1. Interior of the Pantheon of Rome ; it is crowned by a semicircular dome, the largest of its class. 
 
 2. Interior view of the Basilica of St. Paul outside the walls of Rome, showing its wooden roof. Vide pi. iv. 
 
 3. Principal nave of S' 8 Maria Maggiore at Rome ; it is covered by a ceiling of the greatest richness, the 
 work of the fifteenth century. Vide pi. Ixv., Nos. 3 and 4. 
 
 4. The great nave of St. Peter’s ; the vault is executed in stucco gilt, of the greatest magnificence. Vide 
 pi. lix., lx., lxi., lxii. 
 
 5. Part of the Church of St. Ouen at Rouen in 1318 ; the roof is formed of pointed arches, crossing diagonally. 
 Vide pi. xli., Nos. 2 to 8. 
 
PLATE LXVII. 
 
 CHRONOLOGICAL AND HISTORICAL TABLE OF THE INVENTION AND EMPLOYMENT 
 OF THE CUPOLA, OR DOME. 
 
 ANTIQUE. 
 
 1. Plan and section of the Pantheon, Rome. 
 
 2. Plan and section of an antique edifice, still seen outside 
 the walls of Rome, and called the Torre de’ Schiavi; this 
 monument offers an early example of a hemispheric vault, 
 erected upon an octagonal plan, with pendentives in the angles. 
 
 3. Another example of the same, in a hall or temple, forming 
 part of the baths of Caracalla. 
 
 SIXTH CENTURY. 
 
 4. Plan and section on the diagonal of the centre part of 
 the Church of St. Sophia at Constantinople. 
 
 5. Plan and section of the cupola of the Church of St. Vitali 
 at Ravenna, constructed by Justinian, at the time this same 
 prince erected St. Sophia at Constantinople. Vide pi. xxiii. 
 
 SEVENTH AND EIGHTH CENTURIES. 
 
 6. Plan and section of the cupola of the Church of St. Michael 
 at Pavia. Vide pL xxiv. 
 
 7. Plan and section of the cupola of the Church of St. 
 Mark at Venice, commenced in the tenth and terminated in the 
 eleventh century. Vide pi. xxvi. 
 
 ELEVENTH CENTURY. 
 
 8. Plan and section of the cupola of the Cathedral of Pisa. 
 Vide pi. xxv., Nos. 32, 33, 34. 
 
 TWELFTH CENTURY. 
 
 9. Plan and section of the cupola of the Church of S 1 *- Maria 
 in castello at Cometo. Vide pi. lxxiii., No. 48; pi. lxiv., 
 No. 14 ; pi. xlii, No. 6 ; pi. lxx., No. 17. 
 
 TENTH AND ELEVENTH CENTURIES. 
 
 10. Plan and section of the cupola of the Church St. Cyriac, 
 Cathedral of Ancona. Vide pi. xxv., No. 38. 
 
 THIRTEENTH CENTURY. 
 
 11. Plan and section of the Cathedral of Sienna. Vide 
 pi. lxxiii. 
 
 12. Plan and section of the tower of the Church of Notre 
 Dame at Dijon. Vide pi. xxxvi., No. 1 to 13. 
 
 FIFTEENTH CENTURY. 
 
 13. Plan and section of the cupola of the Church of St. Augus¬ 
 tine, near the Place Navona at Rome, built in 1483, by Baccio 
 Pintelli, a Florentine architect ; although not important by its 
 dimensions, it forms an epoch in the history of cupolas; all 
 those which had been erected up to that period were either like 
 the Pantheon, No. 1, supported on the walls ; or on pendentives 
 united to the arches of the nave, as at St. Sophia and St Mark, 
 No. 4 and 7 ; or on low tambours, as at the Cathedrals of Pisa, 
 Sienna, and Florence, Nos. 8, 11, and 16. The cupola of St. 
 Augustine is the first which was established on a tour de dome, 
 a happy idea more fully carried out in the dome of St. Peter’s. 
 
 14. View of the cradle vaulting of the antique temple at 
 Nismes. Vide pi. xlii., No. 24. 
 
 FIFTEENTH AND SIXTEENTH CENTURIES. 
 
 15. Vaulting of the nave of the Basilica of St. Peter. 
 
 FIFTEENTH CENTURY. 
 
 16. Plan and section of the cupola of the Church of S“- 
 Maria del fiore at Florence. 
 
 17. Plan and section of the cupola of the Church of St. Peter. 
 
 18. View of the antique temple at Nismes. (La maison 
 Carrée.) 
 
 SIXTEENTH CENTURY. 
 
 19. Bird’s-eye view of the Church of St. Peter. 
 
PLATE LXVIIL 
 
 TABLE OF THE FORMS AND PROPORTIONS OF COLUMNS EMPLOYED BEFORE AND DURING THE DECLINE OF ART 
 
 TO ITS RESTORATION. 
 
 FIRST CENTURY. 
 
 1. One of the twenty-four antique columns of the Church 
 of St. Paul outside the walls of Rome. 
 
 FOURTH CENTURY. 
 
 2. Amother column from the same, executed at the time of 
 the foundation or enlargement of the church ; it has much less 
 elegance than the antique column, No. 1, although of the same 
 dimensions, and used with it. See pi. v., No. 3 ; and pi. vii., 
 Nos. 1 and 2. 
 
 3. This column is from one of the side arches of the same 
 church, and has upon its base the name of Pope Siricius, who 
 occupied the papal chair in the fourth century. 
 
 FIFTH CENTURY. 
 
 4. This column, still further removed from the antique, is 
 from the Church of St. Apollinarius at Ravenna. The base and 
 capital are on the following plate ; the plan and section of the 
 church, pi. xvii., Nos. 17-22. 
 
 SIXTH CENTURY. 
 
 5. Similar column from the same. 
 
 6. Column from the Church of S 1 "- Sophia, Constantinople. 
 
 7. Column from the Cathedral of Parenzo. 
 
 8. Column from the ground floor of the church of St. Vitali, 
 Ravenna. 
 
 9. Column of the upper gallery of the Church of St. Vitali, 
 Ravenna. 
 
 10. Column in the centre of the windows of the dome of 
 the church, &c. 
 
 SEVENTH CENTURY. 
 
 11. Column from the Church of S“- Julia near Bergamo. 
 
 12. Column from the Church of St. Michael, Pavia. 
 
 EIGHTH CENTURY. 
 
 13. Column from the Church of St. John, at the Porta 
 Latina, Rome. 
 
 14. Column from the Church of St. Sabas at Rome. 
 
 15. Column from the Cathedral of Cordova. 
 
 ELEVENTH CENTURY. 
 
 16. Column from the Cathedral of Torcello. 
 
 NINTH CENTURY. 
 
 17. Column from the Cathedral of Pola, Istria. 
 
 TENTH CENTURY. 
 
 18. Column from the interior of the Church of St. Mark, 
 Venice. 
 
 19. Column, octagonal on plan, from the same. 
 
 20. Column, of analogous form, from the small antique 
 temple in the valley of the Nymph Egeria near- Rome. 
 
 TENTH AND ELEVENTH CENTURIES. 
 
 21. Column from the Church of St. Syriac, Cathedral of 
 Ancona. 
 
 22. Column from the House of Pilate, Rome. 
 
 ELEVENTH CENTURY. 
 
 23. Column from the Cathedral of Pisa. 
 
 ELEVENTH AND TWELFTH CENTURIES. 
 
 21, 25, 26. Columns from the cloisters of the Church of St. 
 Stephen at Bologna. 
 
 TWELFTH CENTURY. 
 
 27. Column from the Cathedral of Ferrara. 
 
 28. Column from the Cathedral of Modena. 
 
 29. Similar column from a Greek manuscript of the ninth 
 century. 
 
 30. 31. Egyptian columns. 
 
 32. Column from the ancient cloister of the Abbey of St. 
 Vincent and St. Anastasius. 
 
 33. Column from the Church of Chiaravalle. 
 
 34. Column from the cloister of the Church of St. Laurence, 
 Rome. 
 
 35. Column from a building at Venice called il Fondaco de' 
 Turchi. 
 
 THIRTEENTH CENTURY. 
 
 36. Column from the upper Church of St. Francis at Assisi. 
 
 37. 38. Columns from the cloister of the Church of St. Paul 
 outside the walls of Rome. 
 
 39, 40. Columns from the Church of St. Flavian near 
 Montefiascone. 
 
 41. Column from an ancient painting at Herculaneum. 
 
 42. Column from one of the chapels of the Cathedral of 
 Upsala, Sweden. 
 
 43. Column from the Cathedral of Paris. 
 
 FOURTEENTH CENTURY. 
 
 44. Column from the Church of Modling, built by the tem¬ 
 plars in the fourteenth century, at two leagues from Vienna. 
 
 45. Column from Ely Cathedral. 
 
 46. Column from the Cathedral of Toledo. 
 
 47. Column from the interior of the Cathedral of Milan. 
 
 THIRTEENTH CENTURY. 
 
 48. Column from the Church of S“- Maria Novella at Florence. 
 
 49. Corinthian pilaster from the Church of S Ia - Maria del 
 flore at Florence. 
 
 FOURTEENTH CENTURY. 
 
 50. Column from the Loggia or Portico de’ Lanzi at Florence. 
 
 51. Column from the Alhambra at Granada in Spain. 
 
 52. Column from a painting at Herculaneum. 
 
 53. Column from the Church of S' 3 - Maria sopra Minerva. 
 
 FIFTEENTH CENTURY. 
 
 54. Column from the Church of St. Onofrio at Rome. 
 
 55. Column from the Library of Cesena. 
 
 SIXTEENTH CENTURY. 
 
 56. Column from the Cathedral of Mantua. 
 
 FIFTEENTH CENTURY. 
 
 51. Column from the Church of St. Laurence at Florence, 
 by Brunelleschi. 
 
 58. Column from the interior court of the Palace of St. Mark 
 of Venice, at Rome, by Baccio Pintelli. 
 
 59. Column from the Church of S 1 "- Maria del populo, Rome, 
 by Baccio Pintelli. 
 
 60. Column from the stage of an ancient theatre at Velletri. 
 
 61. Column from the Church of St. Augustine, Home, by 
 Baccio Pintelli. 
 
 62. Spiral staircase by Bramante at the Belvedere at the 
 Vatican. 
 
 63. Corinthian column from the interior of the Church of 
 St. Peter by Michael Angelo. 
 
 64. Corinthian pilasters from the exterior of the Church of 
 St. Peter. 
 
 Architecture R 
 
PLATE LXIX. 
 
 CHRONOLOGICAL TABLE OF THE DIFFERENT KINDS OF BASES AND CAPITALS EMPLOYED FROM THE 
 COMMENCEMENT OF THE DECLINE OF ART TO THE ELEVENTH CENTURY. 
 
 FIRST CENTURY. 
 
 1. Base, capital, and entablature from the Pantheon. 
 
 17. Base and capital of one of the pillais of the Church of 
 S“- Julia near Bergamo. 
 
 FOURTH CENTURY. 
 
 2. Base and capital of one of the columns of the principal 
 nave of the Church of St. Paul outside the walls of Rome. 
 
 3. Base and capital of another column from the same. 
 
 18. Base and capital of one of the pillars of St. Michael, Pavia. 
 
 EIGHTH AND NINTH CENTURIES. 
 
 19. Bases, capitals, and other Arabian details, from the 
 Mosque of Cordova. 
 
 NINTH CENTURY. 
 
 FIFTH CENTURY. 
 
 4, 5, 6. Capitals from the façade of the ancient Palace of 
 Theodoric. 
 
 7. Base and capital from the nave of the Church of St. Apolli- 
 narias in classe. 
 
 8. Capital from the Church of St. Gregory at Rimini. 
 
 20, 21, 22. Bases and capitals from the nave of the Cathedral 
 of Pola in Istria. 
 
 23. Base and capital from the Church of S'“- Fosca at 
 Torcello, Venice. 
 
 TENTH CENTURY. 
 
 24, 25. Bases and capitals from the Church of St. Mark, 
 
 SIXTH CENTURY. 
 
 9. Capital from a column in the Church of St. Sophia at 
 Constantinople. 
 
 10. Base of another column from the same. 
 
 11. 12. Capitals fr om the interior of the Cathedral of Parenzo 
 
 in Istria. 
 
 13. Base and capital from the Church of St. Apollinarius. 
 
 14, 15. Bases and capitals from the Church of St. Vitali, 
 Ravenna. 
 
 SEVENTH AND EIGHTH CENTURIES. 
 
 16. Capital from the interior of an antique edifice, commonly 
 called the Temple of Mars the Avenger. 
 
 Venice. TENTH AND ELEVENTH CENTURIES. 
 
 26, 27. Bases and capitals from the Basilica of St. Zenon at 
 
 Verona. 
 
 28. Base and capital from the nave of St. Cyriac Cathedral 
 of Ancona. 
 
 ELEVENTH CENTURY. 
 
 29. Base and capital from the Cathedral of Pisa. 
 
 30. Base and capital from the Cathedral of St. Miniato al 
 monte near Florence. 
 
 31. Base and capital of the Church of the Quattro Santi at 
 Rome. 
 
 - 
 
 
 
PLATE LXX. 
 
 CONTINUATION .OF THE CHRONOLOGICAL TABLE OF THE BASES AND CAPITALS EMPLOYED FROM THE 
 ELEVENTH TO THE SIXTEENTH CENTURIES. 
 
 ELEVENTH AND TWELFTH CENTURIES. 
 
 1. Base and capital of the coupled columns from the cloisters 
 of the Church of St. Stephen, Bologna. 
 
 2. Capital and entablature from an Egyptian temple. 
 
 3. Capital and entablature from a monument at Persepolis. 
 
 TWELFTH CENTURY. 
 
 4. Base, capital, and architrave from one of the columns of 
 the principal door of the Cathedral of Modena. 
 
 5. Other bases, capitals, and entablature, from the same. 
 
 TWELFTH AND THIRTEENTH CENTURIES. 
 
 6. Capital from a column of the cloister of the Church of St. 
 Laurence. 
 
 7. Base and architrave from the same. 
 
 8. Capital of column from the cloister of the Abbey of the 
 Three Fountains near Rome. 
 
 9. Base and capital of another column from the same. 
 
 TWELFTH CENTURY. 
 
 10. Base and capital from the grand nave of the Church of 
 Cliiaravalle. 
 
 11. Another capital from the same. 
 
 12. Capital from the nave of the Cathedral of Modena. 
 
 13. One of the composite capitals from the Cathedral of 
 Morreale near Palermo. 
 
 14. Base from the Church of Chiusi in Tuscany. 
 
 THIRTEENTH CENTURY. 
 
 15. 16. Capitals of columns much in use at this period. 
 
 TWELFTH CENTURY. 
 
 17. Capital from the Church of S“- Maria in castello. 
 
 18. Capital from the Fondaco de’ Turchi, Venice. 
 
 THIRTEENTH CENTURY. 
 
 19. Pedestals, bases, and capitals of the pillars of the Church 
 of St. Francis of Assisi. 
 
 20. Base, capital, and entablature from the cloister of the 
 Abbey of Subiaco near Rome. 
 
 21. Base, capital, and entablature from the cloister of the 
 Church of St. Paul outside the walls. 
 
 22. Stylobate, bases, capitals, and arches from the same 
 cloisters. • 
 
 23. Bases and capitals of a group of columns, from one of 
 the pillars of the Church of St. Flavian near Montefiascone. 
 
 24. Details of the pilasters which decorate the upper part of 
 the pillars of the nave of S la - Maria del fiore at Florence. 
 
 25. Details of the pilasters of the lower part of the same. 
 
 26. Base and capital of one of the columns of nave of the 
 Cathedral of Orvieto. 
 
 FOURTEENTH CENTURY. 
 
 27. Base and capital of the pillars of the Loggia or Portico 
 de’ Lanzi at Florence. 
 
 THIRTEENTH CENTURY. 
 
 28. Base and capital of the pillars of the interior of the 
 Cathedral of Paris. 
 
 FOURTEENTH CENTURY. 
 
 29. Base and capital of one of the pillars of the Church of 
 Modling near Vienna. 
 
 30. Base and capital from the Cathedral of York. 
 
 31. Base and capital from the nave of the Cathedral of 
 Milan. 
 
 32. Base and capital from the Cathedral of Toledo in Spain. 
 
 FIFTEENTH CENTURY. 
 
 33. Base, capital, entablature, and architraves in the interior 
 of the Church of St. Laurence at Florence. 
 
 34. Stylobate, base, capital, and entablature of the composite 
 order employed by Leon Baptista Alberti in the decoration of 
 the principal façade of the Church of St. Francis at Rimini. 
 
 35. Base, capital, and entablature of the composite pilasters 
 of the central arch of the façade of St. Andrew at Mantua, by 
 Leon Baptista Alberti. 
 
 36. Details of the two composite orders, one over the other, 
 supporting the great arches of St Augustine, Rome, built by 
 Baccio Pintelli. 
 
 37. Stylobate, base, capital, and entablature of the Doric 
 order of the small temple erected by Bramante, in the centre of 
 the cloister of the Church of S. Pietro in Montorio at Rome. 
 
 38. Base, capital, and entablature of the columns from the 
 interior of the Basilica of St. Peter, by Michael Angelo. 
 
 39. Stylobate, base, capital, and entablature from the exterior 
 of the same. 
 
PLATE LXXI. 
 
 METHODS OF CONSTRUCTION IN USE BEFORE AND DURING THE DECLINE OF ART. 
 
 CONSTRUCTION OF WALLS. 
 
 1. Stone wall, constructed according to the principles of the best 
 periods. This wall was constructed with stones of the same size perfectly 
 squared, and inalternate layers, placed either longitudinally or transversely ; 
 examples of this perfect kind of construction are found on the quay, near 
 the mouth of the Cloaca Maxima at Rome, an ancient wall of Palestrina, 
 and the remains of a tomb near Albano. 
 
 2. Opus incertum, formed of small stones of irregular figures, placed 
 one over the other without order ; the angles and extremities of the walls 
 were consolidated by chains of bricks, ranged in horizontal courses, 
 forming a bond at regular intervals ; the whole was often covered with 
 a mortar of lime and pouzzolana : the most ancient edifices of Rome 
 appear to have been constructed in this manner, as the cella of the Temple 
 of Tivoli, the remains of the country house of Mæcenas and Quintilius 
 Varus; and the Temple of Fortune at Palestrina. 
 
 3. Opus reticulatum, reticulated work; this kind of construction, 
 also antique, consisted of small stones of peperino, or tufo, volcanic 
 productions from the environs of Rome ; they were cut into small 
 pyramids, about three inches at the base, and five or six inches in height; 
 they were arranged diagonally on the surface of the wall, and the points 
 entered the general mass of rubble of which the wall was composed ; there 
 was scarcely any mortar between the joints of the reticulatum, but the 
 whole was generally covered with cement. A fine example of the reticu¬ 
 latum is seen in part of the walls of Rome, between the Porta del Populo, 
 and the Villa Borghese, called the Muro torto. 
 
 4. Same kind of masonry, in which there was more mortar between 
 the lozenges, but the outer covering of cement was dispensed with. 
 
 5. Another kind of reticulatum, a gross imitation of the preceding, 
 but with stones of unequal and irregular form, with a greater quantity of 
 mortar between the joints. 
 
 6. Portion of the walls of Rome, restored by order of Narses, in the 
 Bixth century ; the stones are rudely shaped and separated by large 
 interstices, filled in with brick, and a large quantity of mortar. 
 
 7. Another example of the irregular employment of blocks of stone in 
 the construction of the bridge Salaro, rebuilt by Narses in the sixth century. 
 
 8. A kind of opus incertum degenerated, seen in a portion of the walls 
 of Rome, restored in the sixth century, by Belisarius ; the form of the 
 stones is very irregular, and the joints large with abundance of mortar. 
 
 9. Example of a brick wall constructed after the most approved 
 method of the ancients; the two faces of the wall were formed with trian¬ 
 gular bricks, with the one angle towards the interior of the wall ; the 
 centre was filled in with small stones and mortar; every four feet in 
 height a bond was formed by three rows of square bricks over the whole 
 thickness of the wall ; the angles of the walls were similarly strengthened. 
 
 10. 11. Same kind of construction, but less regular in the arrange¬ 
 ment of the bricks and thickness of the joints. 
 
 12. Masonry composed of blocks of tufo, arranged in courses, but 
 irregularly, from a wall and tower of a gate of Rome, called de’ Cavalle- 
 gieri, behind the Church of St. Peter. 
 
 13. Another wall with blocks of tufo, but employed with more art 
 than the preceding, seen at Rome below the buildings of the capitol ; it 
 is a restoration of the fifteenth century; the antique capital and fragment 
 of architrave built in the wall are said to have belonged to the Tabula- 
 rium, a building destined to preserve the archives. 
 
 14. Rude kind of opus incertum, from the ancient tower dc’ Conti at 
 Rome, executed in the twelfth century, composed of fragments of lava 
 and pebbles, thrown in pell-mell with the mortar, and at unequal intervals 
 in height, are layers of mortar to consolidate the work. 
 
 15. Mixed masonry of the third century, from the circus of Caracalla 
 near Rome ; the surface of the walls formed with alternate courses of 
 triangular and squared blocks of tufo, or peperino ; the centre of the wall 
 was filled in with rubble. 
 
 16. Upper part of the arch of Janus at Rome, in which the same 
 kind of masonry exists, but less regularly executed. 
 
 17. Similar construction, from a wall of the Church of S. Angelo in 
 pescheria, Rome ; restoration of the sixth century. 
 
 18. Wall built in regular courses, but with blocks of tufo, of unequal 
 sizes, from a building of the thirteenth century, at S. Sisto Vecchio, 
 near the baths of Caracalla. 
 
 19. Wall of Lombardie construction, from the ruins of a church at 
 Bergamo, built in courses of three rows of squared stones, and the rows 
 of smaller stones placed angularly. 
 
 20. Portion of a wall near the Arch of Titus, composed of fragments 
 of every kind. 
 
 21. Construction of the wall of the Church of St. Vincent and 
 St. Anastasius, near Rome, executed from the eighth to the ninth century, 
 by order of Charlemagne, exhibiting an amelioration on the preceding. 
 
 22. From the Church of St. Bartholomew all’ isola at Rome, work of 
 the tenth century, showing that the amelioration did not long continue. 
 
 23. The same negligence is seen in a wall of the Church of the Four 
 Saints ; eleventh century. 
 
 24. The exterior stylobate of the Church of St. Peter, by Michael 
 Angelo, constructed after the principles of the ancients. 
 
 25. Façade of a house on which is read “Vinea Vidascha," near the 
 gate of St. Sebastian at Rome ; it presents a confused assemblage of 
 antique fragments of statues and bas-reliefs. 
 
 26. Portion of the walls of Rome, restored in 1157, composed of 
 , alternate courses of squared stone and long bricks, the whole united 
 
 with a considerable quantity of mortar. 
 
 27. Brick wall from the Church of St. Laurence outside the walls of 
 Rome ; thirteenth century. 
 
 28. The same construction from a wall of the Church of S. Egidio 
 in borgo at Rome ; fourteenth century. 
 
 29. Mixture of tufo and peperino ; restored in the fifteenth century by 
 Nicholas V. 
 
 30. Walls of the Palace of the Vatican in the sixteenth century, by 
 Leo X ; this wall is executed with great care, and may be compared 
 with those of the best periods of antiquity. 
 
 31. The same amelioration may be observed in the construction of a 
 bastion erected at Rome near the gate of St. Paul, under Paul III., in 
 the sixteenth century. 
 
 CONSTRUCTION OF ARCHES AND LINTELS. 
 
 32. Plan and elevation of an archway called the Arco de' Pantini at 
 Rome ; the wall is constructed of peperino and the arch stones of travertine. 
 
 33. Portion of the Forum of Nerva, called the Colonacce. 
 
 34. Part of a façade of an antique edifice at Rome, called the Baths 
 of Paulus Emilius ; with the exception of the capitals and the upper 
 cornice, which are in travertine, the whole of the decoration is in brick. 
 
 35. Antique gate in Sicily ; the jambs of the gate are in squared 
 stone, the arch is formed of three rows of vases of terra cotta placed one 
 within the other. 
 
 36. Plan and elevation of one of the vases. 
 
 37. One of the arches from the Mausoleum of Theodoric, Ravenna. 
 
 38. Portion of the cloister of the Church of S“- Clara, Naples ; four¬ 
 teenth century. 
 
 39. F rom the Palace of the Emperors, Rome. 
 
 40. Lintel of brick near the ancient Palace Savelli at Rome. 
 
 41. Restoration of the Porta Latina. 
 
 42. From St. Nicolas incarcéré, Rome. 
 
 43. Flying buttress, from the Cathedral of Notre Dame, Paris. 
 
 44. Arches of the Farnese Palace at Rome by Vignola; return 
 towards the principles of the ancients. 
 
 45. Portion of the antique theatre called Castrense. 
 
 46. From the wall of a private house. Via di Borgo, Rome. 
 
 CONSTRUCTION OF VAULTING. 
 
 47. Transverse section of an ancient tomb on the Appian Way, 
 between Rome and Albano. 
 
 48. Vault from the Baths of Diocletian at Rome ; it consists of chains 
 of brick following the crown of the arch, the intervals filled in with rubble. 
 
 49. Hemispheric vault of similar construction, with vases of terra 
 cotta introduced in the spandrils to lighten it. 
 
 50. Vault under the steps of the Circus of Caracalla near Rome, 
 showing a similar construction. 
 
 51. Another example of the employment of vases to lighten the con¬ 
 struction of vaulting, from the Church of St. Sebastian, Rome. 
 
 52. Covering in stone of the mausoleum of Theodoric at Ravenna. 
 
 53. Part of the vault from the House of Pilate, Rome ; it is executed 
 in rubble stone, forming a sort of opus incertum. 
 
 54. Cupola of St. Vitali, Ravenna, remarkable for its peculiar con¬ 
 struction. Vide pi. xxiii. 
 
 55. Transverse section of the vaulting of the nave of the Cathedral 
 of Paris. Vide pi. xxxix. 
 
 56. Vaulting by Michael Angelo under the porticos of the ground 
 floor of the Palace of the Conservatore at the Capitol. 
 

PLATE LXXII. 
 
 TABLE OF THE STYLE OF CIVIL ARCHITECTURE, DURING ITS DECLINE, COMPARED WITH THAT 
 WHICH IT TOOK AT ITS RESTORATION. 
 
 1. Plan and elevation of the Tower de' Conti at Rome in 
 the thirteenth century, by Marchionne d’Arezzo, several of 
 whose works are cited by Vasari in his life of Arnolfo di Lapo. 
 (Vasari, Vite de’ Pittori, vol. i., p. 9.) 
 
 2, 3. Plan and elevation of the Fountain Branda at Sienna, 
 erected in 1193. 
 
 4. Façade of a private house at Bolsene near Montefiascone, 
 between Rome and Florence, erected in 1299. 
 
 5. Plan and elevation of an isolated fire-place, seen at 
 Bologna. 
 
 6. Porta Romana at Sienna, built in 1391. 
 
 7. Façade of a private house at Assisi ; on the right is a 
 small door, some few feet above the ground, which was called 
 the Gate of Death, because, according to an ancient custom, it was 
 only opened to allow of the bodies of those who had died in the 
 house passing out. Young married couples also entered the 
 houses by these doors, when they w T ere told that it would only 
 open again for them when they should at the same time leave 
 the house and the world. Similar doors were used by the 
 ancients, and called by them Sandapilariæ. In the ancient 
 circus there was a door at the side called Libitinaria, because it 
 was used for the carrying away of the bodies of those who died 
 in the games; and in the old Church of St Peter of the Vatican 
 there was a door called the Porta del Giudizio, through which 
 were carried the dead bodies of those who were interred within 
 the church. 
 
 8. Town Hall at Gubbio in the Roman territory; thirteenth 
 century. 
 
 9. Plan and section of a bath outside the city of Bologna; 
 the period of the erection of this building is uncertain. 
 
 10. Plan and Hew of the house where Petrarch retired and 
 died in 1374, at Arqua, between Monselicè and Padua. 
 
 11. Plan and section of the Hospital of Fabriano in the 
 environs of Ancona ; fifteenth century. 
 
 12. Plan and view of a bridge in the same town, built in the 
 fifteenth century by Bernard Rossellini, a Florentine architect. 
 
 13. Back front of the Palace de’ Governatori at Ancona, 
 built by Margaritone d’ Arezzo in 1270, alla maniera Greca, 
 according to Vasari, vol. i., p. 39. 
 
 14. Entrance façade in the library of Cesene, founded in 
 1462, by Malatesta Novello, brother of Sigismond Malatesta, 
 lord of Rimini. 
 
 15. 16. Transverse section, plan, and longitudinal section of 
 the above. 
 
 17. Plan and façade of a house at Tivoli, on which are the 
 arms of the house of Colonna, built in 1475. 
 
 18. Plan and elevation of a small chapel called St. John in 
 Oleo, near the Porta Latina, erected in 1509. 
 
 19. Plan of façade of the house of Ariosto at Ferrara; 
 above the entrance door is the following :— 
 
 LVDOVICO AREOSTO 1610 
 
 and on the frieze separating the ground from the first floor :— 
 
 PARVA SED APTA MIHI SED NVLLI OBNOXIA SED NON 
 SORDIDA PARTA MEO SED TAMEN AERE DONIVS 
 
 and above the centre window of the first floor :— 
 
 SIC DONIVS HAEC AREOSTA PROPITIOS DEOS HABEAT OLIM VT PINDARICA 
 
 20. Plan of the ducal Palace of Urbino, by Francesco de' 
 Georgio, architect of Sienna, bom in 1423, died 1470. 
 
 21. Castle of Cafaggiuolo, belonging to the grand dukes of 
 
 Tuscany, at a short distance from Florence, built for Cosmo de 
 Medicis by Michelozzo Michelozzi. 
 
 22. Pleasure house of the grand dukes of Tuscany, about ten 
 miles from Florence, erected for Laui-ence the Magnificent, from 
 the design of Julian Giamberti, called Sangallo, a name which he 
 derived for having constructed a monastery near Florence and 
 outside the gate Sangallo. This artist, bom in 1443 and who 
 died in 1517, deeply studied the antique; and the knowledge he 
 thus acquired he communicated to his nephew Antonio Sangallo, 
 who also owed to him in great part the celebrity he afterwards 
 enjoyed. He applied himself more particularly to the construc¬ 
 tion of fortifications, for which he was employed at Milan, 
 at Naples, in Tuscany, and in the Papal States by order of 
 Julius II. (Vasari, Ibid, vol. ii., p. 78.) 
 
 23. Façade of the Palace Strozzi at Florence, commenced 
 from the designs of Benedetto de Maiano, brother of Giuliano de 
 Maiano, and terminated by Cronaca, who designed the cornice. 
 
 24. Plan of the Church of St. Peter of the Vatican, as 
 designed by the friar Giocondo de Verona when he was 
 nominated architect to this church with Raphael and Julian 
 Sangallo, after the death of Bramante in 1514. 
 
 25. Plan and elevation of the Villa Madama at Rome. From 
 Vasari we leam that shortly after the death of Raphael in 1520, 
 Cardinal Julio de Medicis engaged Julio Romano to construct 
 this villa. The works were undertaken with great expedition, 
 but were suspended in 1521 by the death of Leo X. Vasari 
 adds, that after the death of Adrian VI., who succeeded Leo 
 X., Julio de Medicis having been raised to the Papal chair in 
 1523, under the title of Clement VII., Julio Romano imme¬ 
 diately recommenced the works in the Hall of Constantine at the 
 Vatican ; but he is silent on the subject of the Villa Madama, from 
 which it may be concluded that the works were not then con¬ 
 tinued. Shortly after, in 1524, Julio Romano retired to Mantua; 
 and in 1527 came the sacking of Rome, events which prevented 
 the continuation of the works and caused them to remain in the 
 incomplete state in which we now see them. The name Madama 
 was given to this house because it belonged to Madame Margaret 
 of Austria, natural daughter of Charles V., married at first to 
 Alexander de Medicis, nephew of Clement VII., and afterwards 
 to Octavio Famese, duke of Parma. This villa has since become 
 the property of the sovereigns of Naples, the inheritors of the 
 House of Farnese. (Vasari, Ibid, vol. ii., p. 450.) 
 
 26. Plan and façade of the Palace Stoppani, formerly 
 C'affarelli, in Rome, near the Church of St. Andrea della Valle, 
 commenced from the designs of Raphael ; the upper story or attic 
 appears to have been added after, as it does not appear in an 
 ancient engraving of this façade published by Lafreri in 1549. 
 Charles V. resided in this palace during his sojourn in Rome. 
 (Ferrerio, Palazzi di Roma, pi. 17.) 
 
 27. Plan and elevation of the Palace of the Te, near 
 Mantua, built in 1525 for Frederick de Gonzague first duke of 
 Mantua; designed by Julio Romano, who was here architect, 
 painter, and decorator. It is considered his greatest work, and 
 unites to the imposing aspect of the exterior the most rich and 
 elegant interior decoration. (Vasari, Ibid, vol. ii., p. 456. 
 C'adioli, Pitture di Mantova, 1763, in 8vo., p. 92. Bottani, 
 Descrizione storica del Pallazzo del Te ; Mantova, 1783, in 
 8vo. fig. 
 
 28. Plan of a casino, built at Padua, near the Church del 
 Santo, by Falconetto de Verona for the celebrated Louis Comaro, 
 
 AnCHITECTDBE S 
 
PLATE LXXII. —(Continued.) 
 
 suraamed Vita Sobria in consequence of the austerity of his 
 principles and the sobriety of his life. An inscription over one 
 of the arcades of the court gives the date 
 
 JOANNES MARIA FALCONETUS VERONENSIS ARCHITECTUS MDXXIII 
 
 Falconetto, painter and architect, was the first to introduce in the 
 Venetian states the taste for antique architecture, and paved 
 the way for the celebrated Palladio. (Serlio, Opere d’Archi- 
 tettura; Venezia, 1600, in 4to., book vii. Temanza, Vite degli 
 Architetti Veneziam, p. 137. Morelli, Notizia d’Opera di 
 (lisegno ; Bassano, 1800, in 8vo., pp. 107 and 109. Brandolese, 
 Pitture di Padova, 1795, in 8vo., p. 252.) 
 
 29. Façade of the Palace Canossa at Verona, built in 1530 
 for Louis Canossa, bishop of Baieux in France, and ambassador 
 of Francis I. to the Venetian republic. It is one of the finest 
 works of Michael San Micheli of Verona, who excelled equally 
 in civil architecture as he did in military architecture, of which 
 he may be said to have been the creator. He died in 1559, 
 aged 75 years. (Maffei, Verona illustrata, p. 15. Temanza, 
 Ibid, p. 157.) 
 
 30. Palace Comaro at Venice, built by Jacques Tatti, called 
 Sansovino, who was bom in 1479, and died in 1570. In the ara¬ 
 besque character of this façade may be observed the taste which 
 the Venetians had contracted in their continued communications 
 with the East. 
 
 31. Principal façade of the Massimi Palace, called delle 
 Colonne at Rome, built in 1532, according to Ferrerio, after the 
 designs of Balthazar Peruzzi of Sienna, bom in 1481, and died 
 in 1536. He was at the same time painter, engineer, and 
 architect For details of this palace see Nuovo metodo per 
 apprendere 1’ Architettura, sopra una nuova raccolta de’ piu 
 cospicui esemplari di Roma, per opera di Gian-Domenico 
 Navone e Gio. Bat. Cipriani; Roma, 1794, in fol. fig. 
 (Vasari, Ibid, vol. il, p. 200. La Valle, Lettere Sanesi, vol. iii., 
 p. 157 and following. Ferrerio, Palazzi di Roma, book i., pi. 18. 
 
 32. Palace Sachetti, Rome, constructed for his own habitation 
 by Antonio Sangallo the younger. (Vasari, Ibid, vol ii., p. 444.) 
 
 33. Plan of the ground floor of the Faraese Palace, one of 
 the most imposing buildings of modern Rome, the work of 
 Antonio Sangallo the younger, the nephew of Julian and Antonio 
 
 Sangallo the elder. He greatly surpassed his masters, and hy a 
 number of remarkable works contributed to the perfectioning 
 of an art which had become hereditary to his family. (Vasari, 
 Ibid, vol. ii., pp. 435 and 446. Ferrerio, Palazzi di Roma, book 
 
 1., pi. iii. and vi. Domenico de’ Rossi, Studio d’Architettura 
 civile ; Roma, 1702, in fol. fig., vol. i., pi. 22 and following.) 
 
 34. Plan and elevation of the Villa di Papa Giulio III. 
 near Rome. This villa, commenced in 1550 by order of Giulio 
 
 111., is the work of several artists. Vasari claims the invention 
 and arrangement of the plan, which was revised and corrected 
 by Michael Angelo. The subterranean fountain at the end of 
 the court was executed under his direction and that of 
 Amraanati, who afterwards erected the portico above it. The 
 principal building, of which the façade is here given, is by 
 Vignola. It is one of the first works in which he applied the 
 principles he had derived from the study of the antique, and 
 which he afterwards handed down to posterity in his treatise on 
 the orders, and architect’s manual. (Vasari, Ibid, vol. iii., 
 pp. 149, 150, 424,and 528. Baglione, Vite de’ Pittori, etc.; 
 Roma, 1649, pp. 7 and 28. Stern, Piaute, elevazioni, etc. della 
 villa di Giulio III. ; Roma, 1784, atlas fig.) 
 
 35. Part of the plan of the building called Uffizi at Florence, 
 with the façade next the Arno ; erected from the designs of 
 George Vasari d’Arezzo, born 1512, died in 1574. It is the 
 principal architectural work of this artist, who, the friend and 
 pupil of Michael Angelo, and protected by the Medicis, united 
 to that art the practice of painting, and who further has penned 
 and transmitted to posterity the name, life, and works of those 
 who have professed the arts from the time of their revival to his 
 own time. 
 
 36. Plan and elevation of the Palace of the Counts Chiericati 
 at Vicenza, by Andrew Palladio, born in 1518, died in 1580. It 
 is considered one of the most perfect of the many buildings with 
 which Palladio embellished Vicenza. (Descrizione delle Archi¬ 
 tettura di Vicenza, 1779, in 8vo. fig., part ii., p. 51. Il Forestiere 
 istruito nelle cose d’Architettura di Vicenza, 1780, in 8vo. fig., 
 pi. xxvii. and xxviii., p. 80. Temanza, Vite degli Architetti 
 Veneziani, p. 359.) 
 
 37. Façade of a small house at Vicenza, said to have been 
 inhabited by Palladio. 
 
 PLATE LXXIII. 
 
 GENERAL TABLE OF THE MONUMENTS WHICH HAVE SERVED TO FORM THE HISTORY OF 
 THE DECLINE OF ARCHITECTURE. 
 
 1. Plan of an antique building discovered in the excavations 
 made in 1777, on the site of the ancient city of Ocriculum, near 
 the modem Otricoli, in the papal state. It is placed here 
 amongst the basilicas, in consequence of its agreement with the 
 arrangement which Vitruvius, and after him, Palladio, consider 
 to belong to this class of buildings. 
 
 2. Church of S la - Agatha Maggiore at Ravenna, built by the 
 bishop St. Exuperance at the end of the fourth or at the 
 commencement of the fifth century; that is, from 398 to 418. 
 The disposition of the plan is evidently imitated from the 
 ancient basilicas. 
 
 3. Church of the Holy Ghost at Ravenna, still more ancient 
 
 than the preceding; supposed to be of the third century. 
 (Fabri, Ibid. Beltrami, Ibid, p. 133.) 
 
 4. Plan of the Temple of Jupiter Olympius, called the 
 Temple of the Giants, at Agrigentum, now Girgenti, in Sicily. 
 
 5. Plan of the Parthenon at Athens. 
 
 6. Church of St. Michael in foro at Rimini, built in the 
 fifth century. This is one of the most ancient examples of a 
 plan in the form of a Latin cross, which afterwards became so 
 characteristic of the Christian temples. 
 
 7. Plan and section of the small antique Temple of Vesta, 
 now S la - Maria del sole at Rome. 
 
 8. Plan of an ancient octagonal baptistery, built at Ravenna 
 

PLATE LXXIII.— (Continued.) 
 
 at the time of Theodoric, fifth century, for the use of the 
 Arians. It is now part of the Church of S'"- Maria in 
 Cosmedino. 
 
 9. Plan of the church of the Cathedral of Parenzo in 
 Istria, built in 542, with its dependencies, under the empire of 
 Justinian and the pontificate of Pope Vigilius, by the care of 
 Bishop Eufrasius, whose monogram is carved on several capitals 
 of the nave. This monument of the sixth century is remarkable 
 for the many vestiges of ecclesiastical antiquity which it still 
 preserves. A square court, surrounded by porticos, like those 
 of St. Clement at Rome, precedes the church, which is arranged 
 after the manner of the ancient basilicas. The aisles are divided 
 by antique columns of marble and granite, which support 
 arches, the soffits of which are covered with ornaments in stucco 
 as at the Church of St. Paul outside the walls of Rome. The 
 greater part of the pavement is in ancient mosaic; the 
 windows are closed by pierced slabs of marble, as at the antique 
 amphitheatre of Pola. Round the apsis terminating the nave 
 is a circular bench in marble for the priests, with the episcopal 
 chair in the centre. The walls of the apsis are inlaid with 
 mother of pearl, porphyry, serpentine, and other precious 
 materials ; and the vault is covered with a painting in mosaic, 
 representing in the centre the Virgin with the child Jesus ; and 
 on the soffit of the arch are twelve medallions of Saints, with 
 that of the Saviour in the centre. Near the extremity of the 
 left wing, and near the presbytery, is an ancient triclinium. It 
 is composed of a vestibule, a hall of assembly, furnished with 
 seats for the bishop and his clergy, and a small oratory. At 
 the entrance end of the court is an octagonal baptistery, in front 
 of which is the tower. 
 
 10. Monogram of the Bishop of Parenzo, Eufrasius Episcopus, 
 who, in 1542, rebuilt the cathedral. It is carved on several of 
 the imposts of the arches of the nave. 
 
 11. Arabian mosque, now the Cathedral of Cordova in 
 Spain ; the end of the eighth century. 
 
 12. The metropolitan church of St. Mark, Venice, con¬ 
 structed in the tenth century. 
 
 13. Plan of the Basilica of St. Zenon at Verona; tenth or 
 eleventh century. 
 
 14. Subterranean church or Confession, under the choir of 
 the Church of St. Zenon. 
 
 15. Transverse section of the ancient Church of S ,a - Scholas- 
 tica at Sabiaco near Rome ; constructed from the tenth to the 
 eleventh centuries. The pointed vault of this church may be 
 considered as the first essay of the Gothic system in Italy. 
 See pi. xxxv. 
 
 16. Longitudinal section of the Cathedral at Modena. 
 
 17. Side, elevation of the Church of Chiaravalle, between 
 Ancona and Sinigaglia. 
 
 18. Plan of the Basilica of the ancients, according to 
 Palladio. (Palladio, Architettura, etc., book iii., chap. 19.) 
 
 19. Plan of the basilica which Vitruvius built at Fano, 
 from his description and the drawing given by Perrault in the 
 translation which he published of this author (edition 1684, 
 pi. xxxix., p. 152). This building in its arrangement had a 
 mixed character ; behind the basilica was a temple, at the end 
 of which was the tribunal, which gave to the judgments there 
 pronounced a religious sanction. This arrangement was naturally 
 followed in the construction of the early Christian churches. 
 
 20. Church of St. Stephen of the Hungarians, built in Rome 
 near the Church of St. Peter of the Vatican about the end of 
 the eighth century, under Adrian I. In this church may be 
 perceived that dawn of amelioration which appeared at the 
 time of Charlemagne. It resembles in arrangement the 
 churches of St. John of the Porta Latina, of St. Michael in 
 Sassia, of S ,a - Cecilia at Rome, and more particularly the 
 
 Church of the Apostles at Florence,—all churches erected 
 about this period. (Severano, Memorie sacre delle chiese di 
 Roma, 1630, in 8vo., part i., p. 94.) 
 
 21. Plan of the ancient Cathedral of Ravenna, one of the 
 most beautifid of the ancient Christian monuments, and which 
 preserved at the same time the greatest remains of pagan 
 antiquity. Its five aisles, divided by four ranges of columns, 
 presented all the majesty of the ancient temples. The semi¬ 
 circle at the end recalled the tribunal of the ancient basilicas ; 
 and in the enclosure formed by the small columns in the centre 
 of the nave was the choir, which, according to the rites of the 
 primitive church, occupied this portion of the building, as we 
 see in the Church of St. Clement, Rome. Vide pi. xvi. The 
 Cathedral of Ravenna was often used as a basilica, in the true 
 and ancient acceptation of the word ; that is, a tribunal where 
 justice was administered in the name of the sovereign. Under 
 the pontificate of Clement VII. judgment was here pronounced, 
 on a difference which had arisen between this pope and Alphonso, 
 duke of Ferrara, the decision of which having been referred to 
 Charles V., he named the Podesta of Ravenna. Unfortunately 
 for art, tliis edifice was demolished and entirely rebuilt from 
 1734 to 1745, from the designs of the architect Buonamici de 
 Rimini ; and the only proofs we have of its ancient splendour 
 are those preserved by himself in the description which he 
 published of the new cathedral. His work is entitled Metro- 
 politana di Ravenna, Architettura del cavalier Gian Francesco 
 Buonamici Riminese, Academico Clementino colli desegni dell’ 
 antica Basilica, del Museo Archivescovile, et della Rotonda fuori 
 delle mura della città; Bologna, 1748, in fol. fig. 
 
 22. Plan of the Basilica of St. John Lateran at Rome; this 
 monument of the fourth century, with the accessary buildings 
 by which it is surrounded, form an ensemble the most imposing. 
 The church was at first called Basilica Constantinina, or Basilica 
 Aurea. Constructed after the model of the ancient Roman ba¬ 
 silicas, it offered at the same time all the parts necessary for the 
 liturgy of the primitive church ; the apsis or tribune, in the centre 
 of which was the papal chair ; the Confession and beyond the 
 altar where the Pope alone celebrated the holy mysteries, was 
 the presbytery for the clergy, ambons for the reading of the 
 epistle and gospel, and a vestiary for the ecclesiastical hierarchy. 
 
 Without and around the basilica were various chapels and 
 oratories, and amongst other sacred buildings the baptistery, still 
 preserved and still brilliant with the marbles and precious 
 metals with which it was adorned by the fervour of Constantine. 
 Until the period of the introduction of conclaves, the election of 
 the sovereign pontiff took place in this church, and it is still here 
 that they come after their election to take solemn possession of 
 the pontificate in presence of the clergy and the Roman people. 
 
 At all times, amongst all people, ancient or modern, in 
 Egypt, in India, in Mexico, the principal places for religious wor¬ 
 ship have always been and still are accompanied by accessaries 
 necessary for its exercise or to augment its splendour ; it was the 
 same with this basilica, called Sacro-Sancta, et de omnium urbis 
 et orbis ecclesiarum mater et caput. In a vast enclosure were 
 united, under the name of Patriarchum Lateranense, all the 
 accessary buildings necessary for the residence of an ecclesias¬ 
 tical prince—private oratories, libraries, halls of council, others 
 more vast for holding synods and the meeting of councils, 
 triclinia or dining-halls destined for the agape or sacred repasts, 
 and an elevated tribune from which the pope blessed the 
 faithful. Under the porticos were assembled the penitent, and 
 the travellers attracted by their devotion for the holy places ; 
 in the triclinia, instead of the sumptuosity of the pagan festivals, 
 reigned the frugality of the holy repasts, the austerity of the 
 fasts of the religious orders, and regular priests there formed the 
 cortege of the pope in the place of the pretorian guard, whose 
 
PLATE LXXIII.— (Costinced.) 
 
 lodgments were converted into monasteries and cloistered houses 
 which still subsist. Gardens of the useful rather than the 
 luxurious furnished the subsistence of these ecclesiastics, and 
 distributed health in their habitations ; in fact, as the cathedral 
 of the Christian world, and the palace of the pope, the Temple 
 of St. John Lateran, traced by the hand of Constantine himself 
 (ejus aream, propriis manibus sarculo admotis, ipse descripsit), 
 augmented, embellished, and restored by a number of emperors 
 and popes, serving successively as the place of election and habita¬ 
 tion for some, and the coronation of others, has always been one of 
 the most imposing monuments which architecture has ever raised 
 in honour of God, and the men specially dedicated to his wor¬ 
 ship. C'iampini in his treatise De sacris œdificiis a Constantino 
 magno constructis, gives at chap, il, pi. iii., the general plan of 
 this basilica with all its dependencies, in the state in which they 
 were before a part was demolished to make way for the majestic 
 palace erected by Sixtus V. Consult also the work of Rasponi, 
 entitled De Basilica et Patriarchio Lateranensi, book iv., ad 
 Alexandrum VII., pont. max. Romæ, 1656, in foL 
 
 23. Plan of the Church of Bethlehem, erected in the fourth 
 century by the Empress Helena, in honour of the Virgin and 
 the Saviour on the spot where he was bom, already celebrated 
 by the birth of David. This temple is of beautiful proportion, 
 adorned with a great number of columns, and originally the 
 interior was covered with precious marbles, which were taken 
 away by the Turks to enrich their mosque of Jerusalem. In an 
 enclosure adjoining are all the buildings necessary for the service 
 of the church, lodging for the priests and religious orders and 
 the pilgrims who visit it—cloisters, cells, hospitals, and private 
 oratories ; a small church dedicated to St. Catherine built on the 
 spot where St. Jerome worked at the translation of the Bible ; 
 the stable or grotto in which Jesus Christ was bom, trans¬ 
 formed into a subterranean church. The worship is now 
 shared between the Armenians, the Copts, the Syrians, the 
 Greeks, and the Latins, who in turn dispute the possession of this 
 church. (Amico, Trattato de’ sacri edifizi di Terra Santa; 
 Firenze, 1620, in fol. fig., pi. i. and iii., p. 1 and following. 
 Ciampini, Ibid, chap, xxiv.) It is said to be on the same site 
 where Adrian celebrated the fêtes in honour of Adonis, and that 
 it was to repair this profanation that Helena and Constantine 
 erected this magnificent temple. A letter addressed by this 
 emperor to Macarius, bishop of Jerusalem, exhibits his desir e for 
 its sumptuous decoration in all parts. Ut omnia templa .... 
 hujus cedificii dignitate superarentur, the Mahometans had 
 soiled it, the Crusades purified it. The city of Jerusalem offers 
 a still more striking example of like vicissitudes. On Mount 
 Moriah, one of the hills of its ancient enclosure, David raised 
 an altar, surrounded by Solomon with the famous temple, one 
 of the wonders of the world ; Titus destroyed it ; Adrian planted 
 on its site a grove consecrated to Jupiter ; Julian endea¬ 
 voured to reconstruct it; the Saracens under Omar built a 
 mosque ; it became a church in the hands of the Crusaders, and 
 they again abandoned it to the Turks, who restored it to the 
 worship of Mahomet. See the Treatise of Marangoni, entitled 
 Delle cose gentilesche trasportate ad uso delle chiese Roma, 
 1744, in 4to., chap. Iii., lv. 
 
 24. Plan and sections of the Church of St. Nereus and 
 Achilleus at Rome, reconstructed in the seventh century by the 
 Pope Leo III. ; although of small dimension, the plan offers 
 the arrangement of the ancient basilica. 
 
 25. Plan of a small antique edifice near Tivoli, and called 
 the temple de la tosse; it is dedicated to the Virgin, who is 
 here invoked against fever. (Cabral, Delle ville e monument! 
 antichi di Tivoli; Roma, 1779, in 8vo., p. 42. 
 
 26. Church of St. Vitali at Ravenna, constructed in the 
 sixth century by Justinian. Vide pi. xxiii. 
 
 27. Plan of the Church of St. John in borgo in Pavia, built 
 by the Lombards during the seventh to the eighth centuries. 
 
 28. Church of St. Chrysogone in trastevere at Rome, 
 founded by Constantine. 
 
 29. Plan of the Church of St. Catherine at Pola in Istria, 
 in the tenth century. 
 
 30. Longitudinal section of the Cathedral of Modena ; in 
 the twelfth century. Vide pi. xlii., lxxiii. 
 
 31. Longitudinal section of the Church of Chiaravalle be¬ 
 tween Ancona and Sinigaglia ; twelfth century. 
 
 32. View of the interior of a chapel in the catacombs. 
 
 33. Plan and section of an ancient edifice near St. Germano, 
 at the foot of Mount Cassino, on the site of the ancient Casinum. 
 It is constructed with large blocks of hewn stone put together 
 with a great deal of care ; it is now known as the Church of the 
 Crucifix. (Descrizione istorica del monastico de Monte Casino ; 
 Napoli, 1775, in 8vo., p. cix.) 
 
 34. Plan of an ancient circular edifice of beautiful construc¬ 
 tion, near Salonica, in Macedonia, supposed by Pococke to 
 have served for a church to the primitive Christians, and after¬ 
 wards converted to a mosque, and again converted to a church 
 dedicated to St. Peter and St. Paul. Mons. Cousinery, for¬ 
 merly consul in the Levant, having examined this building, 
 considered it formerly to have been a temple dedicated to the 
 gods Cabires. 
 
 35. Plan of the Church of St. Apollinarius in classe, three 
 miles from Ravenna, is another example of the union of the form 
 of the temple with the antique basilica. This basilica was 
 erected in 545, by order of Julian, the silversmith, that is, the 
 treasurer of the Emperor Justinian, in honour of St. Apollinarius, 
 disciple of St. Peter, and apostle of Ravenna and Æmilia, now 
 the Romagna. The site of this church, at a distance from the 
 sea, was formerly a port known as the winter station of the 
 Roman fleet, from which is derived its present name of Classe 
 from the Latin Chassis. (Fabri, Sagre Memorie di Ravenna. 
 Ciampini, Vetera Monimenta, vol. ii., chap, xi., p. 79. Beltrami, 
 II forestiere istruito delle cose Notabili di Ravenna, 1783, in 8vo., 
 p. 219.) 
 
 36. Church of the Apostles at Florence ; ninth century. 
 
 37. Plan of the Church of St Peter in chains, Rome, 
 founded in the fifth century on a part of the Baths of Titus, and 
 reconstructed by Adrian I. in the eighth century. 
 
 38. Plan of the Cathedral of Pisa, built in the eleventh 
 century, from the designs of Buschetto, a Greek architect. 
 
 39. Plan of one of the pillars of the nave of the Cathedral of 
 Modena ; twelfth century. This sort of pillar, square on plan, 
 with half a column on each face, may be seen in several buildings, 
 and is a feature of the Gothic style of this period. 
 
 40. Plan of the Confession under the choir of the Cathedral 
 of Modena. 
 
 41. Plan of one of the pillars of the Church of Chiaravalle. 
 
 42. Ground plan of the Cathedral of Modena ; of the 
 twelfth century. 
 
 43. Plan of the Church of Chiaravalle. 
 
 44. Plan of the Church of the Holy Sepulchre of Jerusalem. 
 The Saracens having destroyed it at the end of the tenth cen¬ 
 tury, the Emperor Constantine Monomachus rebuilt it in the 
 middle of the eleventh at the instance of Pope Leo IX. Plan 
 of the site which encloses the Holy Sepulchre, indicated in small 
 in the centre of the Rotunda of plan 44. Side elevation of the same. 
 
 45. Plan of Westminster Abbey, constructed in the thir¬ 
 teenth century. 
 
 46. Transverse section of the Church of Stephen on the 
 Mount at Paris, founded in the thirteenth century, and recon¬ 
 structed in the sixteenth ; it is distinguished by great elegance 
 of design. 
 
PLATE LXXIII.— (Continued.) 
 
 47. Plan and longitudinal section of St. Bartelemy ail’ Isola, 
 built in the tenth century. 
 
 48. Plan, side elevation, and longitudinal section of S'”- 
 Maria in castello at Cometo ; of the twelfth century. 
 
 49. Plan and longitudinal section of the Cathedral of Sienna, 
 commenced in the eleventh century, consecrated in the twelfth, 
 about 1180, by Pope Alexander III., enlarged and embellished 
 during the thirteenth century. This church is one of the most 
 considerable monuments of that period, by the perfect arrange¬ 
 ment, the magnificence of the exterior and interior decoration, 
 the richness of the materials, and careful execution of every 
 part. 
 
 50. Plan and longitudinal section of the Cathedral of 
 Orvieto, erected in the thirteenth century. 
 
 51. Plan of the Church of St. John degli Eremiti at Pa¬ 
 lermo. This small church, at present annexed to a monastery of 
 Benedictines, founded or rebuilt in the twelfth century by King 
 Roger, is said to be still more ancient, and to have belonged to 
 the ancient monastery of St. Eremete, one of the six which St. 
 Gregory founded in Sicily in the sixth century ; nevertheless the 
 form and construction, compared with the other churches of the 
 twelfth century, appear the same, and do not permit the belief 
 in an earlier date. (Descrizione del real tempio de Morreale 
 Palermo, 1702, in fol., pi. xxvi., No. 14, p. 137. Inveges, 
 Annali di Palermo, 1601, in fol., vol. ii., p. 445, 500.) 
 
 52. Plan and longitudinal section of S la - Maria del fiore, 
 Cathedral of Florence, commenced in the thirteenth century 
 from the designs of Arnolfo di Lapo, the first architect of his 
 time, and terminated in the fifteenth century by Brunelleschi. 
 Vide pi. xlii., No. 12; lxvii., No. 16 ; lxx., Nos. 24 and 25. 
 
 53. Plan and longitudinal section of the Church of St. 
 Stephen on the mount, Paris. Notwithstanding the alterations 
 which this building of the thirteenth century has successively 
 undergone, it is still one of the most remarkable of the Gothic 
 buildings in France. Vide pi. xlii., No. 8. 
 
 54. Plan of the Church of S“- Maria in capella at Rome, 
 near the Ponte-rotto ; of the eleventh century. 
 
 55. Plan of the Church of St. Lazarus at Rome; it is 
 attached to an hospital, erected from the eleventh to the twelfth 
 centuries by a Frenchman, to receive the leprous of that nation. 
 
 56. Section of the same. 
 
 57. Plan of the Church of S. Sisto Vecchio, near the baths 
 of Caracalla at Rome, built in the thirteenth century. 
 
 58. Plan and side elevation of the Church of St. Vincent 
 and St. Anastasius, at the Three Fountains near Rome ; eighth 
 century. 
 
 59. Façade of the Palace Cavalli at Venice, built in the 
 sixteenth century. 
 
 60. Façade of the Exchange of Bologna, called the Foro 
 de’ Mercanti or the Palazzo della Mercanzia; erected in 1294. 
 
 61. 62. Details of Arabian architecture of the fourteenth 
 century. 
 
 63. Cathedral of Seville in Spain ; commenced in 1401 and 
 terminated in 1506. 
 
 64. Plan of the Church of St. Mark at Rome, near the 
 Palace of Venice. 
 
 65. One division of the nave of S“- Maria del populo, built 
 at Rome in the fifteenth century by order of Sixtus IV., from 
 the design of Baccio Pintelli, Florentine architect. 
 
 66. Plan and longitudinal section of an antique edifice in 
 Rome, called the Temple of Peace. 
 
 67. Transverse section of the Church of the Trinity de’ 
 
 Monti at Rome, erected in 1494 by order of Charles VIII. 
 of France. 
 
 68. Plan and longitudinal section of the Church of St. 
 Augustine at Rome, constructed in 1483 by Cardinal Guilhaume 
 d’Estouteville, from the designs of Baccio Pintelli. 
 
 69. Plan of the Basilica of St. Peter of the Vatican, as 
 designed and commenced by Bramante in 1506. Great changes 
 took place in it after his death. (Serlio, Libro terzo delle 
 Antichità; Venezia, 1540, p. xxxvii. Bonanni, Historia Templi 
 Vaticani, pi. x., p. 50.) 
 
 70. Second plan of the same basilica by Balthazar Peiuzzi 
 of Sienna, when he was named architect by Leo X. in 1520, 
 after the deaths of Julio Sangallo, Friar Joconde, and of 
 Raphael. This plan, in which a Greek cross is substituted for 
 a Latin cross, was like the former never executed, and the 
 idea even would have been lost had not Serlio, disciple of 
 Peruzzi, preserved it. (Serlio, Ibid, p. 38. Bonanni, Ibid, 
 pi. xiii., p. 56. See pi. lxxii., No. 24.) 
 
 71. Third plan of the Church of St. Peter, composed by An¬ 
 tonio Sangallo, called the younger or the nephew, who, after 
 the retirement of his uncle Julian, succeeded him as architect of 
 St. Peter. This plan, in which Sangallo wished to re-establish 
 the Latin cross, as imagined by Bramante, was in all respects 
 inferior to the plans of his predecessors. It was therefore aban¬ 
 doned after his death in 1546. (Bonnani, Ibid, pi. xiv., p. 58.) 
 
 72. Fourth plan by Michael Angelo, who endeavoured to 
 restore the Greek cross as designed by Peruzzi. During the seven¬ 
 teen years that this great man occupied the post of architect to the 
 Church of St. Peter, entrusted to him by Paul III. after the death 
 of Sangallo, he continued with indefatigable ardour the works 
 necessary for the execution of this plan ; but after his death it 
 underwent many changes, more particularly the change from a 
 Greek to a Latin cross by prolonging the front arm, executed 
 by Carlo Maderno under Paid V. 
 
 73. Plan of the Church of S“- Maria Novella at Florence, 
 commenced at the end of the thirteenth century, from the 
 designs of Sisto and Ristoro de C’ampi, Dominican friars. 
 This church is of such happy proportions, that it excited 
 the admiration of Michael Angelo, who called it la sua sposa, 
 la sua dama. (Vasari, Vite de’ Pittori, vol. i., p. 318, vol. iii., 
 p. 320. Richa, Notizie delle chiese Fiorentine, vol. iii., 
 p. 15 and 23.) 
 
 74. Plan and longitudinal section of a small church, partly in 
 ruins, outside the gate of St. Sebastian, Rome, at a place called 
 Capo di bove, near the mausoleum of Cecilia Metella. Vide 
 pi. xxxvi., No. 18. 
 
 75. Plan and longitudinal section of the Church of S ,a - 
 Maria sopra Minerva at Rome ; constructed in the fourteenth 
 century. The interior exhibits the mixture of the round and 
 pointed arch. Vide pi. xlii., No. 22. 
 
 76. Plan and longitudinal section of the Church of the 
 Holy Ghost at Florence; commenced in 1435, from the design 
 of Philip Brunelleschi, principal author of the rerival of 
 architecture in the fifteenth century, and terminated in 1481, 
 thirty-seven years after his death. Vide pi. xlix. and 1. 
 
 77. Plan of the Church of S 1 ®- Maria della Pace at Rome, 
 built in the end of the fifteenth century by order of Sixtus IV. 
 from the designs of Baccio Pintelli. 
 
 78. Plan of the Church of St. Andrew at Mantua ; com¬ 
 menced in the fifteenth century, from the designs of Leon 
 Baptista Alberti, one of those who, after Brunelleschi, most 
 contributed to the revival of architecture. 
 
 END OP ARCHITECTURE. 
 
 Architecture 
 

 
 
 
 
 
 
 
 . 
 
 
 ■ 
 
 ' 
 
 
 
 
 
 
 
HISTORY OF ART 
 
 BY 
 
 ITS MONUMENTS, 
 
 FROM ITS DECLINE IN THE FOURTH CENTURY 
 
 TO ITS RESTORATION IN THE SIXTEENTH; 
 
 TRANSLATED FROM THE FRENCH OF 
 
 SEROUX D’AGINCOURT. 
 
 IN THREE THOUSAND THREE HUNDRED AND THIRTY-FIVE SUBJECTS, 
 ON THREE HUNDRED AND TWENTY-EIGHT PLAIES. 
 
 VOL. II. 
 
 SCULPTURE.—FIFTY-ONE PLATES. 
 
 LONDON : 
 
 LONGMAN, BROWN, GREEN, AND LONGMANS. 
 
 M DCCCXLVIL 
 
INTRODUCTION. 
 
 T N tracing the history of the decline of art, it has not been possible to give to the representations of the 
 
 productions of Sculpture either the same extent or the same importance as to those of Painting. The latter, 
 although more perishable, have remained in greater number, because, from the less expensive nature of the 
 materials, and the more simple uses to which they were applied, they offered a more general interest during the 
 time of the decline, and were more readily multiplied by the hands of the ignorant. The works of Painting 
 were divided into various branches which reproduced the art under a variety of aspects ; whilst Sculpture was 
 reduced to the representation of common-place statues, insipid bas-reliefs on wood or common stone, gross 
 representations of persons or facts, which received no protection from the ravages of time or the destructive 
 hand of man, if we except some statues or busts of saints, or some reliquaries (generally chased), consecrated 
 to the service of the church. It is therefore apparent that the series of monuments of Sculpture would be much 
 less complete than that of Architecture or Painting. 
 
 Before entering upon the History of Sculpture in its decline, it is desirable to cast a rapid glance on the 
 state of the art at its commencement, during its progress, and, above all, on the high state of perfection it 
 had attained previous to its decline. 
 
 To follow the progress amongst the principal people who have cultivated the art of Sculpture, and trace the 
 causes of the different degrees of development it received, we must direct our attention to the physical form of 
 these people—their moral character—the climate which they inhabited—and all that constituted their religious, 
 civil, and political existence. 
 
 In Egypt the plants and birds, animals, wild and domesticated, were the most ancient and the chief 
 models of Sculpture, which were represented with perfect truth and nature ;—restrained by their religious 
 laws, the Egyptians were unable to give the same development to the human figure. The figures, upright or 
 seated, are in general represented stiff and without action, of form entirely conventional ; the chief attempt at 
 expression being in the countenance and hands, which are sometimes rendered with sweetness and grace— 
 this is also remarkable in their colossal figures. Religion has, amongst nearly all people, been of essential 
 encouragement to Sculpture ; but in Egypt it was different : it placed effectual barriers to its progress ; it also 
 corrupted the taste by the monstrous mixtures which it demanded—the head of a bird on the body of a lion, 
 a cat, or wolf, on that of a man, and many other irreconcilable associations ; unlike the Greeks, who, when 
 they assembled two different natures, embellished both, such as the union of the man and the horse in the 
 centaur. 
 
 Placed between the Egyptians and the Greeks, the Etruscans exhibit, in a more striking manner, how the 
 circumstances peculiar to each people served to modify the character of art, and hastened or retarded its 
 progress. 
 
 I he first essays in Sculpture were doubtless made in clay, as is proved by the many rudely executed works, 
 
 Intboduct. Scm.PT, 
 
INTRODUCTION. 
 
 and by the infinite number of votive statutes, bas-reliefs, and ornaments of roofs, all of clay, that are constantly 
 discovered at Rome and its environs, doubtless the works of the Etruscans, the Volsci, or other ancient 
 people, as it is well known that the Romans, at the period of their establishing themselves, and even after their 
 dominion was extended to surrounding nations, were total strangers to art. 
 
 Pliny and Varro acquaint us that th e fictile Hercules, the Jupiter Capitolinus, the Quadriga which crowned 
 his temple, and all the statues placed in the temple of the other gods before the construction of that of Ceres, 
 were the work of the Tuscans—" Tuscanica omnia in cedibus.” The art of modelling and moulding (the Plastic 
 art) was known and practised thi'oughout Italy. It is moreover certain that statuary, which could never 
 dispense with this preparatory work, (nulla signa, statuæve, sine avgillâ.) had been for a long time practised 
 among the Greeks and Tuscans. Pliny cites the statue of Hercules triumphant, that of Janus, dedicated by 
 Numa, and a number of statues throughout the world, certainly made in Etruria. These facts, attested by 
 history, are confirmed by the vast number of small figures in bronze, constantly found in the places they 
 inhabited. The most ancient works of this school present equally those figures stiff and straight, that 
 immovability of legs and arms, the common character of the first essays of art amongst all people who were 
 wanting in instruction and instruments ; this style which the Egyptians, restrained by the influence of their 
 religion and their government, never abandoned, was also at first adopted by the Etruscans. 
 
 It is probable that if the statues, which the Romans carried to Rome in such quantities after the destruction 
 of Volsinium, had reached our time, they would give us a higher idea of the state of statuary among the 
 Etruscans at that period; but the small numbers with which we are acquainted, at the same time that 
 they exhibit more knowledge and movement in the disposition of the draperies than in the early works, still 
 have that rigid, almost savage character. 
 
 1 hat the Etruscans had a style of their own, resulting from the rude manners they had contracted, at the 
 period when they owed the empire of Italy to their labours in the field and in war, is proved by the kind of 
 sunk sculpture on their furniture and pateras, and particularly engravings on precious stones from the earliest times. 
 The figures are here traced by a rude instrument with deep and angular contours ; the arrangement of the 
 draperies and form of the arms is severe, and the attitudes of the men and women most violent; the articulations 
 and muscles pronounced with exaggeration. Far from the timidity of the Egyptians, who were interdicted by 
 their laws and customs from the study of anatomy, everything exhibits the use and abuse of science in the dis¬ 
 ordered movements of the Etruscan figures ; the artists endea voured to give expression to the impetuous senti¬ 
 ments which had become a habit with this bold and violent nation, and thus formed a school peculiar to themselves. 
 
 Energy, the principal chai-acter of the Etruscans, was therefore the special character of their Sculpture, as beauty 
 was that of the Greek Sculpture ; and this character was not softened till the period which we may call the last 
 age of Etruscan art. We find then, in their engraved stones, some indications of amelioration, which lead 
 us to suppose that, had not this nation been destroyed by the Romans, they would have approached, more and 
 more, the principles of the Greek school, which at this period had attained the highest degree of perfection. 
 This influence of imitation does not contradict the general idea we have sought to establish, that Nature alone 
 gave the first direction to the character of the arts. It is with nations as with the individual workman, who, 
 until he has long studied by himself, and has arrived at a certain degree of science and practice, is unable to 
 profit by the instruments and knowledge of others ; moreover, it is principally in the composition of their groups, 
 in their more regular and easy action, that some engraved stones, some pateras, and some bas-reliefs of the 
 later period of Etruscan art, approach somewhat to the style of the Greeks ; but they differ always essentially 
 in the choice and character of the subjects. This is remarkable more especially in their funeral urns. Instead 
 of those soft and voluptuous scenes by which the Greeks wished even their shades to be surrounded, the 
 Etruscans retain the murderous images of their mortal combats and the atrocious games of their gladiators. 
 
 If the fine arts remained some time in Greece in a state of infancy, which all other human inventions have 
 passed through, we have at least but few traces of it. The sudden and sublime inspirations, which created and 
 multiplied the chefs d’œuvres of art so rapidly in Greece, appear to have effaced the traces of its first steps, as the 
 poems of Hesiod and Homer eclipse by their superiority all the productions which preceded them, and condemn 
 them to perfect oblivion. “ The Athenians,” said Cicero, “ have not, like the other nations, commenced by 
 despicable essays to arrive at the great.” It is probable, doubtless, that the communications which the Greeks 
 held with the people whose civilization had preceded them, such as the Egyptians or Phoenicians, had stimu- 
 
INTRODUCTION. 
 
 lated their first efforts and directed their first steps ; but they were soon in a state to return with interest 
 to these same people the assistance they had received, and offer them models of philosophy, poetry, science, 
 and fine arts ; destined as they were by nature to divine that perfection of which their masters had stopped 
 short. The Greeks, in the fine arts, soon felt the necessity of establishing its elements on invariable pro¬ 
 portions; and they recognised and fixed these proportions in studying those of the human form. It is to this 
 fecund and certain principle that we must attribute the rapidity of their progress. 
 
 They quickly distinguished the forms of the limbs, which give to each figure the character proper to its 
 situation, either physical or mental ; and, penetrated by the appreciation of beauty, convinced that it essentially 
 constitutes the charm of the fine arts, and that it should form the principal end and the most efficacious means, 
 they studied to reproduce it in all their works. We recognise that the Greeks, the favoured children of nature, 
 in yielding themselves with an exquisite delicacy to the enjoyment of her most precious gifts, knew how to offer 
 to her, by the aid of Sculpture and Painting, the most agreeable homage which men can render, a so perfect 
 imitation of her beauties, that she often even found herself surpassed. 
 
 To have a just idea of the circumstances which led the Greeks to this happy result, it is almost sufficient to 
 remark that they are just the contrary to those which prevented the Egyptians from reaching it. Without 
 according too much to the influence of physical causes, are we not at once struck by the difference which the 
 diversity of climate would cause to the character and taste of national habits ? Instead of a burning air, 
 dried up soil, and muddy waters, “ turbidus liquor,” says Pliny, which spread itself over this factitious earth, 
 created by the deposits of a river the benefits of which could only be received by employing infinite care to 
 prevent its ravages—instead of that population which Egypt produced, Greece, under a more temperate climate 
 and under a sky constantly pure, saw rise up in the midst of its smiling fields a race of men of admirable 
 proportion, of an expressive and regular figure, and of women who, to the same advantages, united the still 
 greater charms of sweetness and grace :—instead of the black scarabæus, the jackall, and ferocious hyena, the 
 scorpion and hideous crocodile, there were the diligent workers of Mount Hymettus, the noble courser, the 
 vigorous bull, the agile stag, the elegant and tender hart, which peopled her river banks enamelled with 
 flowers, her smiling hills, her shady forests. There were no longer those enormous edifices of Egypt, those 
 stupendous temples impenetrable to the light of day, where mystery and night covered with their shadows a 
 people curbed by the yoke of despotism and superstition; there were no longer those bizarre symbols transformed 
 into gods, of whom the monstrous images offended the eye and insulted the reason. Amongst the Greeks the 
 softest sympathies, the most noble and the liveliest emotions of the heart, found continual nourishment in the 
 spectacle which religion offered to their view. The majestic simplicity of their temples, the beauty of the 
 images of their gods, the character of their religious festivals, the pomps of the processions ; and the charm 
 and variety of their games and dances, all aided to captivate the senses in the homage of veneration ; all was 
 impressed with grace, with taste, happiness, and joy. 
 
 In Egypt, Sculpture remained for ages without development, restrained by bonds of material or enigmatic 
 representation, whilst with the Greeks this fine art, born of sentiment delicate and deep, and passing through 
 all the degrees of an education truly philosophical, arrived at a sublimity which will cause the admiration 
 and despair of every other age and nation. 
 
 When, by the aid of physical and moral circumstances as favourable as those which Greece has presented to 
 us, the arts have arrived to such a degree of perfection, in order to maintain them, the civil and political relations 
 should experience no change, which, by violently disturbing them in altering their form and principles, would 
 conduct them to their ruin. Such unfortunately were those to which, in spite of some intervals of repose, Greece 
 was delivered during the two centuries which followed the death of Alexander. They powerfully influenced 
 the fate of the arts during this period. Art did not, however, perish, but it emigrated to a foreign climate. 
 Without occupation in their own country, and drawn to Italy by the splendour of the new empire, the most 
 skilful of the Greek sculptors migrated to Rome. 
 
 From the remains of ancient art with which we are acquainted, we are unable to assign at any period a style 
 original and peculiar to the Romans ; all proves that at the most remote period, during the whole time of 
 the Monarchy, and even during the greater part of the Republic, Sculpture, equally with Painting and 
 Architecture, was practised at Rome by Etruscans. It is equally certain that to these succeeded the Greeks 
 who, from the time of their arrival in Italy to the destruction of their empire, executed the most interesting 
 
INTRODUCTION. 
 
 works of art with the exception of some few, by Roman sculptors their pupils, as may also have happened with 
 the Etruscans. The bronze statue of Romulus crowned by Victory, on a Quadriga, was the work of the 
 Etruscans. The colossal statue in bronze of Apollo was cast in Tuscany. After the destruction of the 
 principal towns of this country, and particularly Volsinium, “the city of artists,” most of these latter retired to 
 Rome, increasing in population and power from day to day, and there worked in terra cotta and bronze. 
 Nevertheless, it was not until the fifth century of the Roman era that they made use of marble for Sculpture. 
 From the commencement of the sixth century the Romans had approached the countries inhabited by the 
 Greeks, and the fine statues taken from Syracuse by Marcellus made them acquainted with the art in all its 
 excellence ; the conquests of Macedonia and Asia produced a still greater quantity of statues, which were 
 erected in the temples and public places of Rome, instead of those of wood or terra cotta. The beauties of art, 
 of which the Greek artists were so prodigal in their representation of the gods, excited the religious zeal of the 
 Romans ; they invited to Rome the authors of these fine works, and required of them the execution of similar 
 works. The number of these was soon increased, either by those taken as slaves in war or those who volun¬ 
 tarily abandoned their country. All found occupation in the capital of the world. Some received their liberty ; 
 others, magnificent recompense for the enjoyment their talents afforded to the Romans. 
 
 An infinity of artists, both sculptors and engravers of precious stone, illustrated the passage of the expiring 
 Republic to the first bright days of the Empire, yet did not succeed in founding a Roman school truly national. 
 At Rome, on the contrary, the works executed by a foreign school always received the most admiration. “It is 
 not a work of our time,” said Martial, “to add to the praise of a fine statue of Hercules.” What Martial said 
 under Domitian, Virgil had said more than a hundred years before under a prince who equally loved the arts and 
 letters, and Roman pride, instead of being wounded, had repeated as a title of glory those well-known verses:— 
 
 Excudent alii spirantia mollhis aera, 
 
 Credo cquidem ; vivos duccnt de marmore Vultus : 
 
 Tu regere imperio populos, Romane, memento ; 
 
 Iïæ tibi erunt artcs. . 
 
 In a monarchy the taste of the subjects is very readily modelled on that of the masters, especially in all that 
 concerns the enjoyment of luxury and pleasures of imagination. 
 
 . . . ce sont les souverains, 
 
 Qui font le caractère et les mœurs des humains. 
 
 This kind of influence was so remarkable amongst the Romans, when once they had submitted to a 
 single chief, that it is sufficient for the historian to know the character and tastes of the different Emperors 
 to determine the character of the productions of art during his reign, and the degree of merit of the 
 contemporaneous artists. 
 
 Sculpture was grand and noble under Augustus ; licentious and obscene under Tiberius ; false under Caracalla, 
 who caused his own infamous head to be placed on the fine Greek statues; extravagant under Nero, who gilded 
 the famous chef d'œuvre of Lysippus ;—the shortness of the reigns of the three following Emperors did 
 not permit them to elfect much injury to art. That of Vespasian was useful, as also to the belles lettres, by 
 the favour and rewards which that Emperor accorded to those who cultivated them ; the temple which he 
 erected to peace, and enriched with the chef d'œuvres of the Greek Sculpture and Painting, became also the 
 temple of the arts. 
 
 Distinguished private individuals, partaking of the tastes of the Sovereign, equally encouraged the artists. 
 We see the effect of these happy circumstances in the works of Sculpture still seen in the triumphal arch 
 erected in honour of Titus, the son of Vespasian. 
 
 Trajan followed the example of his predecessors, and obtained the same results—attested by the works of 
 the Athenian Apollodorus, celebrating the exploits of this prince. Adrian, himself proficient in Sculpture as 
 well as in Painting and Architecture, did not confine his attention to Rome, “restitutor orbis terrarum,” he left 
 monuments in every country and every town of his vast empire, which he several times travelled through. By 
 his care a new Athens arose ; he finished the temple of Jupiter at Olympus, and caused to be made a statue of 
 this god in gold and ivory. The statue of himself, on a Quadriga, was also of a perfection which recalled the best 
 
INTRODUCTION. 
 
 period of art ; it terminated the magnificent mausoleum, adorned with so many other statues, which this prince 
 constructed for himself in the capital of his empire, and which, notwithstanding all that disfigures it at the 
 present day, furnishes a high idea of his genius. 
 
 There is no doubt that Sculpture under this prince returned somewhat to its ancient perfection—we may 
 see it in the fine head of this Emperor in the Borghese collection, the statues of Antinous, the half figure 
 of this young man found in the Villa Adrian, and preserved in the Casa Albani, but principally a head of 
 Antinous at Mondragone, near Frascati, belonging to the prince Borghesi ; this possesses in its colossal proportion 
 the soft forms and tender beauties of nature, the execution is perfect, as is also its present state of preservation. 
 
 Amongst the many obligations which the Empire owed to Adrian was the choice of Antoninus and Marcus 
 Aurelius for his successors. These two princes, the honour of the human race, inherited the taste which 
 Adrian possessed for the fine arts. Antoninus encouraged the artists, and gave them the opportunity of 
 exercising their talents in his magnificent Villa de Lanuvium, where is found amongst other monuments a half 
 statue of Thetis, which, mutilated as it is, still exhibits the charms of Venus. Marcus Aurelius, at whose 
 education philosophy and the fine arts presided in concert, who received the lessons of the sage Diognetes, 
 painter by profession, and who was directed by the tastes and councils of Herodus Atticus, enlightened amateur 
 of the arts, protected, in a manner even more efficacious than his predecessors, the artist and the arts. 
 
 I he veneration with which these two last Emperors had inspired the senate and Roman people multiplied 
 their portraits and busts; so much so, that it was considered almost a sacrilege for a citizen to neglect to adorn 
 his house with them. It resulted that this kind of Sculpture, already much employed to preserve the souvenirs of 
 illustrious personages, acquired under these two reigns a new perfection, which furnishes another example of the 
 influence which particular circumstances exercise over any branch of art, precisely as more general causes over 
 the whole region of art. After the reign of Antoninus all changed. The senate, wishing to efface the memory 
 of the infamous Commodus, ordered all his statues to be destroyed. Popular disturbances left but a moment of 
 dominion and life to his three successors. The culture of the fine arts felt this so much, that in a very short 
 space of time they lost the fruit of the works of preceding times, and the decline, especially of Sculpture, com¬ 
 menced with great rapidity. We may judge from what is produced thirteen years only after the death of Com¬ 
 modus under Septimus Severus. 
 
 During the succeeding reigns the works of Sculpture were rare, with the exception of those perhaps which 
 were executed under Alexander Severus. Two busts of this Emperor, not without merit, were doubtless, the 
 fruit of the personal encouragement he gave the arts; it is even asserted that he practised them himself. It is 
 certain that he assembled from all parts statues of illustrious men to place in the forum of Trajan, and 
 adorned with colossal figures the baths bearing his name. From this moment nothing seems to suspend the 
 rapid fall of the fine arts, particularly that of Sculpture, which more than either of the others requires peace 
 and luxury. During half a century nearly twenty Emperors were barely brought in contact with the imperial 
 throne; fresh tyrants, constantly springing up, disputed it with them, and scarcely one died a natural death. 
 
 The decline then became certain at the end of the third century, and was completed from the 
 commencement of the fourth. We have the proof in those imperfect bas-reliefs of the time still seen on the 
 arch of Constantine, and the statues of this prince, which are scarcely better : and by the translation of the seat 
 of empire to Constaninople, Rome lost for twelve centuries the sceptre of the fine arts. 
 
 But if the Romans cannot claim a share of the tribute of admiration which the Greeks have so well merited 
 by their profound knowledge in the art of sculpture, let us not forget that they have a solid right to our grati¬ 
 tude for the care with which they received and preserved the productions of the Greeks. Without them, 
 without this quantity of statues and bas-reliefs with which the public edifices, as the most simple dwellings, were 
 ornamented, and which are every day seen to emerge from ruins, we should not now enjoy the beauty of 
 ancient art, and we should be tempted to class the accounts of its perfection, given us by contemporary authors, 
 amongst the fables of antiquity. 
 

 
 
 
 : 
 
 
 
 
 
 
 . 
 
 ■ 
 
 
 
 
 
 
 
 
PART THE FIRST. 
 
 THE DECLINE OF SCULPTURE, FROM THE FOURTH 
 TO THE THIRTEENTH CENTURY. 
 
 Sculpture A 
 
SCULPTURE.— PLATE I. 
 
 A SELECTION FROM THE MOST BEAUTIFUL EXAMPLES OF ANCIENT SCULPTURE 
 DURING THE BEST PERIOD OF THE ART. 
 
 1. The Pythian Apollo, or the Apollo Belvedere. This most 
 celebrated Statue was found towards the end of the fifteenth 
 century on the sea shore at the Capo d’Anzo, among the ruins 
 of the old Antium, probably the site of the Villa of Nero. 
 (Visconti, Museo Pio Clementino, vol. L, pi. xiv., xv.) 
 
 2. Venus after the Bath,called the Capitoline Venus; found 
 towards the middle of the eleventh century at Rome, near San 
 Vitale. (Museum Capitolinum, vol. iii., pi. xix.) 
 
 Ipsa Venus pubem, quoties velomina ponit, 
 
 Protegitur laevâ, semi reducta manu. 
 
 3. Terminal Ilead of Alexander the Great; found in the year 
 1779 by the Chevalier Azara, in the ruins of the Pisoni Villa, 
 at Tivoli. This is the only head of that prince, with an inscrip¬ 
 tion bearing his name, known to be authentic. (Winckelmann, 
 Storia delle Arti del Disegno ; Roma, 1783, vol. ii., pi. v.) 
 
 4. Laocoon and his Sons. This celebrated group was found 
 in the ruins of the Baths of Titus, under Pope Julius II. 
 (Museo Pio Clementino, vol. ii., pi. xxxix.) 
 
 5. Head of Augustus, with the diadem, on which is a cameo 
 of Julius Cæsar. (Ibid, vol. vi., pi. xl.) 
 
 6. Statue of a Faun, in the Museum of the Vatican. (Ibid, 
 vol. iii., pi. xlii.) 
 
 7. Meleager, the slayer of the Calydonian Boar. This Statue 
 was brought to the Vatican under Pope Clement XIV., from 
 the Picliini Palace. (Ibid, vol. ii., pi. xxxiv.) 
 
 8. Bacchus, with the horns of a bull ; terminal head in the 
 Vatican. (Ibid, vol. vi., pi. vi.) 
 
 9. Terminal Head representing Comedy; from the old 
 Theatre in Adrian's Villa at Tivoli. (Ibid, vol. vi., pi. x.) 
 
 10. Menander, the buffoon. This Statue was found on the 
 Viminal at Rome, in the sixteenth century, among the ruins of 
 the Baths of Olympias. 
 
 11. Electra and Orestes, also called Papirius and liis Mother ; 
 a group in the Ludovisi Villa in Rome. 
 
 12. Agrippina, wife of Germanicus; Statue in the Museum 
 of the Capitol. (Museum Capitolinum, vol. iii., pi. liii.) 
 
 13. Group in the Villa Ludovisi in Rome, known by the 
 name of Aria and Pætus. 
 
 -Vulnos quod feci, non dolet, inquit, 
 
 Sed quod tu facies, hoc mihi, Pæte, dolet. 
 
 Mart., lib. i., epig. 14. 
 
 14. A sitting Statue of Demosthenes ; formerly in the Villa 
 Negroni, since placed in the Museum of the Vatican. (Museo 
 Pio Clementino, vol. iii., pi. xiv.) 
 
 15. Fragment of a Sarcophagus; a philosophical compo¬ 
 sition, representing-the formation, the life, and the end of the 
 human race. Prometheus, having finished the figure of man, is 
 in the act of completing that of woman, neither of which has 
 yet received life. Mercury introduces to them the soul under the 
 form of Psyche, to complete the work of creation. In another 
 part of the composition, children surrounding the Fates repre¬ 
 sent the results of the union of the two first beings, and at the 
 same time exhibit the beginning and the end of human life. 
 The animals specially destined to the service of man appear in 
 the background, to show at the same time the empire reserved 
 for him, and the assistance provided for him by the Gods. This 
 fragment, found at Ostia, is in the Museum of the Vatican. 
 (Ibid, vol. iv., pi. xxxiv.) 
 
 16. The Birth of a Child ; bas-relief on the front of a Sarcopha¬ 
 gus. (Admiranda Romanorum Antiquitatum Vestigia, pi. Ixv.) 
 
 17. Juno suckling the Infant Flercules ; Statue in the 
 Museum of the Vatican. (Museo Pio Clementino, vol. i., pi. iv.) 
 
 18. Paris brought by Cupid into the presence of Helen, 
 whom Venus is endeavouring to inspire with love for the Trojan 
 prince ; a group of great beauty. This bas-relief was published 
 by Winckelmann, in his Monumenti Antichi Inediti, pi. cxv., 
 also by Guattani, in the collection he published under the same 
 title in the volume of 1785, page xli. The Antologia Romana, 
 No. xlviii., of the same year, has an account by the English 
 sculptor Morisson of this bas-relief. 
 
 19. Zethus and Amphion with their mother Antiopa; bas- 
 relief of the Villa Borghese. (Winckelmann, Monumenta 
 Inediti, pi. lxxxv. ; Storia delle Arti del Disegno, vol. ii., pi. 
 cxlii.) In a similar bas-relief in the Museum at Naples, the 
 same figures represent Mercury conducting Orpheus to 
 Eurydice. 
 
 20. Etruscan Sarcophagus, with a bas-relief representing the 
 brothers Eteocles and Polynices. (Maffei, Museum Veronese, 
 pi. iii.) 
 
 21. Equestrian Statue of Marcus Aurelius, probitatem 
 spirans, in Rome, on the place of the Capitol. (Winckelmann, 
 Storia delle Arti del Disegno, vol. ii., p. 395, et vol. iii., p. 410.) 
 
 22. Bacchus and Ariadne on the island of Naxos ; part of 
 the front of a Greek Sarcophagus, in the Museum of the 
 Vatican. (Museo Pio Clementino, vol. v., pi. viii.) 
 
 23. Bacchante conducting the Dionysian Bull to the Altar ; 
 fragment of a bas-relief in the Museum of the Vatican. (Ibid, 
 vol. v., pi. ix.) 
 
 24. Lustration (purification) of a Cow, pastoral subject; 
 bas-relief in the Museum of the Vatican, foimd at Otricoli. 
 (Ibid, vol. v., pi. xxiii.) 
 
 25. The Hunt of the Calydonian Boar ; bas-relief in the 
 Museum of the Capitol. (Museum Capit., vol. iv., pi. 1.) 
 
 26. Funeral Ceremony, called Conclamatio. Tins bas-re¬ 
 lief was formerly^ in the Gallery of Antiquities in the Louvre. 
 Maffei gives an account of it (Explication de Divers Monu¬ 
 ments, &c. ; Paiis, 1739, in 4to, pi. i., p. i.,) and also Caylus, in 
 his Recueil d’ Antiquités, vol. iii., pi. lxxiii., p. 267. Although 
 these antiquaries differ somewhat in their explanation of the 
 subject, they agree as to its interest, beauty of composition, 
 and execution. 
 
 27. Pietas Nlilitaris ; bas-relief in the Museum of the 
 Capitol. (Museum Capit., vol. iv., pi. xxxix.) 
 
 28. The Roman People entreating Marcus Aurelius to take 
 the government after the death of Lucius Veras ; bas-relief 
 from the triumphal arch of this Emperor on the Via Flaminia, 
 now the Corso, near the Palace Frasio, in Rome. On the 
 destruction of this arch, the bas-reliefs were brought to the 
 Capitol, where they are placed on the staircase of the Palace of 
 the Conservatoria. (Admiranda Romanorum Antiquit. Vestigia, 
 pi. vi.) 
 
 29. Apotheosis of Antoninus and of Faustina ; bas-relief on 
 the pedestal of the Column of Antoninus, which was formerly 
 on the place of Monte Citorio, and was brought to the Museum 
 of the Vatican by Pope Pius VI. (Museo Pio. Clement., 
 vol. v., pi. xxix.) 
 
 30. The Nereids holding the Arms of Achilles ; on a Sarco¬ 
 phagus in the Museum of the Vatican, foimd in the old part of 
 Rome. (Ibid, vol. v., pi. xx.) 
 
 31. Large Vase in the Villa Borghese, with a bas-relief 
 representing a Bacchanal. (Visconti, Sculture del Palazzo della 
 Villa Borghese ; Rome, 1796, 2 vol. in 8vo fig., vol. i., p. 40.) 
 
 32. The Dying Daughters of Niobe ; part of the top of a 
 Sarcophagus in the Museum of the Vatican. (Museo Pio Cle¬ 
 mentino, vol. iv., pi. xvii.) 
 
PLATE II. 
 
 PARALLEL OF THE BAS-RELIEFS ON THE TRIUMPHAL ARCHES OF TITUS, SEPTIMUS SEVERUS, 
 AND CONSTANTINE. FIRST, SECOND, AND FOURTH CENTURIES. 
 
 THE BAS-RELIEFS IN THIS PLATE EXHIBIT THE GRADUAL DECLINE OF ART, AND THE RELATIVE STATE OF SCULPTURE 
 AT THE THREE DIFFERENT PERIODS WHEN THESE ARCHES WERE ERECTED. 
 
 1. Two figures of Victory; bas-reliefs on the spandrils of 
 the Arch of Titus at Rome: first century. (Veteres arcus 
 Augustorum ; Romæ, 1690, pi. iii.) 
 
 2. A Head, taken from one of the bas-reliefs of the inner 
 side of the Arch, which represent the triumphal procession of 
 Titus after the conquest of Judea. (Ibid, pi. v.) 
 
 3. Part of a bas-relief, which is carved on the frieze of the 
 same Arch, representing the River-god Jordan being carried in 
 triumph. (Ibid, pi. v. and vi.) 
 
 4. Medal of Titus ; on the reverse a congiarium. 
 
 5. Two figures of Victory, on the spandrils of the Arch of 
 Septimus Severus ; second century. 
 
 6. Head of one of the figures of Victory of the same Arch, 
 drawn large. 
 
 I. Part of one of the small Friezes, with figures, which are 
 over the side-arches of the same Arch. 
 
 8. Medal of Septimus Severus, with the following inscription 
 on the reverse :— 
 
 MONETA AVG. COS. II. PP. S.C. 
 
 9. Two figures of Victoiy, in the spandrils of the Arch of 
 Constantine; fourth century. (Veteres arcus Augustorum, 
 pi. 23.) 
 
 10. Head of one of the River-gods, on one of the sides of 
 the same Arch, drawn large. 
 
 II. Part of the Frieze with the bas-reliefs, over the side- 
 arches of the same Arch. 
 
 12. Medal of Constantine; on the reverse of which is the 
 following :— 
 
 virtvs a v g v.... 
 
PLATE III. 
 
 STATUES OF CONSTANTINE AND HIS SONS, BAS-RELIEFS, BUSTS, AND OTHER WORKS OF THE SAME PERIOD. 
 
 FOURTH CENTURY. 
 
 1. St. Hyppolytus, Bishop of Ostia; marble Statue, found 
 about the year 1551 on the road to Tivoli, now in the library of 
 the \ atican. (Anastasius Bibliothecarius de Vitis Romanorum 
 Pontificiun; Romæ, 1718, in fol., 4 vol., vol. ii., p. 159.) 
 
 2. One of the Sons of Constantine ; marble Statue, found (also 
 No. 4) in the Baths of this Emperor, and now on the Place of 
 the Capitol. (Nardini, Roma Antica, p. 188.) 
 
 3. Constantine the Great; colossal Statue in marble, placed 
 under the portico of the Basilica St. John Lateran. 
 
 4. Another of the Sons of Constantine; marble Statue, on the 
 Place of the Capitol. 
 
 5. Colossal bronze Statue, of either the Emperor Heraclius, 
 or, according to some, Constantine. It was found in 1491, on 
 the shore at Barletta in Apulia, and is now on the Place of that 
 town. (Winckelmann, Storia delle Arti, etc., vol. ii., p. 425 ; 
 and vol. iii., p. 463.) 
 
 6 and 7. Bas-reliefs of River-gods, in the spandxils of the 
 side-arches of the Arch of Constantine ; fourth century. 
 
 8 and 9. Heads of two other River-gods, from the same Arch. 
 
 10 and 11. Two other Heads, taken from the bas-reliefs of 
 the Arch of Septimus Sevcrus ; second century. 
 
 12. Figures from the bas-reliefs over the small arches of 
 the Arch of Constantine. 
 
 13. A winged figure ; a fragment, found in the Baths of 
 Constantine. 
 
 14. Part of a Tomb, which is believed to be of the time of 
 St. Constantia. It was found in the ruins of the beautiful 
 cloisters built by this Princess in the neighbourhood of the 
 Church which bears her name, and of the Church St. Agnese, 
 outside the walls of Rome. (Boldetti, Osservazioni sopra 
 i Cimeteri de ’SS. Martin, p. 466.) 
 
 15. Part of a Diptychon, in ivory, from the Barberini 
 Library, either representing Constantius on horseback, or one 
 of the other Roman Emperors. (Gori, Thesaurus Veterum Dipty- 
 chonim ; Florentinæ, 1759, tom. iii., p. 163.) 
 
 16. Busts on two porphyry pillars; brought to the Museum 
 of the Vatican from the Palace Altemps in Rome. (Winckcl- 
 mann, Storia delle Arti, etc., vol. iii., p. 90.) 
 
 17. Small figures, two and a-half palms high, of Emperors, 
 on porphyry pillars, in the Museum of the Vatican. (Ibid, 
 vol iii., pp. 90, 471, and 514.) 
 
PLATE IV. 
 
 THIS AND THE FOUR FOLLOWING PLATES CONTAIN WORKS OF SCULPTURE TAKEN FROM THE CATACOMBS. 
 FUNERAL URNS AND SARCOPHAGIII, FOUND IN TIIE CATACOMBS OF ST. URBAN 
 
 AND OF TORRE-PIGNATTARA, 
 
 1. Sarcophagus of St. Helena, mother of Constantine ; found 
 in the Catacombs of Torre-pignattara, two miles from Rome, 
 on the road to Tusculum. It was for a long time in the 
 Cloister Court of St. John Lateran, and was brought from 
 thence to the Museum of the Vatican by Pope Pius VI. 
 
 2. Sarcophagus from the Catacombs of St. Urban ; a part 
 of the same which was brought by St. Calixtus to the Villa 
 Corsini, near the gate of St. Paneras. (Bottari, Roma Sotter- 
 ranea, vol. i., pp. 122 and 126.) 
 
 IN ROME. FOURTH CENTURY. 
 
 3. Sarcophagus in marble, found in 1780 in the Catacombs 
 of St. Peter and St Marcellinus, or of St. Helena ad duas 
 Lauros, now Torre-pignattara. 
 
 4. Mask from one of the corners of the top of the pre¬ 
 ceding Sarcophagus. 
 
 5. Cupid and Psyche, carved on the centre column of the 
 same Sarcophagus. 
 
 6. Drawing at large of the two figures which are on the 
 corners of the front of the same Sarcophagus. 
 
 Scrr.PTt'BE B 
 
PLATE V. 
 
 BAS-RELIEFS AND ORNAMENTS OF VARIOUS SARCOPHAGHI OF THE FIRST AGES OF CHRISTIANITY, 
 FROM THE CATACOMBS. 
 
 1. Subject from the life of Christ, representing Martha, the 
 Canaanitish, or some other, woman, at his feet ; architecture in 
 the background. (Aringhi, Roma Sotterranea, vol. i., p. 319.) 
 
 2. Subjects from the Old and New Testaments, on a 
 Sarcophagus which is much enriched with architecture (Ibid, 
 vol. i., p. 317); and was found in the Campo Santo of the 
 Vatican. It was first placed in the Cloister of St. Andrea 
 della Valle, where it remained a long time, but was after¬ 
 wards taken to the Villa Pamfili. Bottari concludes that it 
 was afterwards taken from this Villa to the little Church of St. 
 Agnes, on the Place Navona. (Bottari, Roma Sotteranea, vol. i., 
 p. 131.) 
 
 3. St. Peter denying Christ at the Crowing of the Cock, with 
 buildings in the background ; fragment of a Sarcophagus. 
 
 4. Three Figures, subject unknown ; part of a bas-relief from 
 a Sarcophagus. 
 
 5. A Shepherd with his Dog, taken from a Sarcophagus. 
 
 6. Front of a Sarcophagus which was found in the Campo 
 Santo of the Vatican and brought to the Villa Medicis. It 
 has various scriptural subjects upon it ; among others, Jonas cast 
 into the sea, and also his coming out of the whale. (Aringhi, 
 Roma Sotterranea, vol. i., p. 335.) 
 
 7. Moses striking the Rock. 
 
 8. A Shell with two Busts, in the centre of a Sarcophagus. 
 
 9. A Shell with a Bust of a Woman ; underneath are 
 Herdsmen. 
 
 10. The top of an Urn, on the middle of which is a Bust, 
 surrounded by different scriptural subjects ; among others the 
 Sacrifice of Abraham, Daniel in the Lion’s Den, and the History 
 of Jonas. 
 
— 
 
PLATE VI. 
 
 OTHER BAS-RELIEFS, CHIEFLY FROM THE SARCOPHAGHI OF THE CATACOMBS. 
 EARLY AGES OF CHRISTIANITY. 
 
 1. Urn, of white marble, ornamented with vine leaves, and 
 Bacchanti playing. It was found behind the Choix- of St. 
 Lorenzo, outside the walls of Rome. (Murangoni, Delle Cose 
 Gentileschi, cap. lxi., p. 316 ; Bottari, Roma Sotterranea, 
 vol. iii., p. 19.) 
 
 2. Sarcophagus of St. Constantia, daughter of Constantine 
 the Great, formerly in the church of her name, and now in the 
 Museum of the Vatican. It is hewn out of a single block of por- 
 phry, is 11 palms in length, more than 7^ in width, and 5?, in 
 height without the top, which also consists of a single block. 
 (Piranesi, Le Antichità Romane, vol. ii., pl. xxv.) 
 
 3. Two Heads of this Sarcophagus, drawn at large ; fourth 
 century. 
 
 4. Front view of a Coffin, in the Church of St. Stephen, 
 Bologna ; fourth or fifth centuiy. 
 
 5. Sarcophagus of Junius Bassus, of the Anicia family; 
 found in the Catacombs of the Vatican, and preserved in the 
 Grottoes under the Church of St. Peter. It is 11^ palms in 
 length, 6 in breadth, and 5| in height. It is well known that 
 the date of this work is 359. It is ornamented with bas-reliefs, 
 of Adam and Eve, the Entrance to Jerusalem, Daniel in the 
 Lions’ Den, the Sacrifice of Abraham, and other subjects from 
 the Old and New Testaments. Its inscription, in one line, a 
 portion of which only appears in the engraving, runs thus :— 
 
 JVN. 6 AS S VS V. C. Q VI. VIXIT ANNIS XLII. MEN. III. IN. IPSA. 
 PRAEFECTVRA. VRBI. NEOFITUS. HT. AD. DEVM. VIII. KAL. 
 SEPT. EVSEBIO ET YPATIO COSS. 
 
 6. Left side of the same Sarcophagus, ornamented with two 
 bas-reliefs, of Winter and Summer, represented by the occupa¬ 
 
 tions peculiar to those seasons. In the accoxmt which Bottari 
 gives of these bas-reliefs, he mentions six children in the place 
 of five, which are here seen. This diffei-ence arises from a part 
 of this monument being concealed by the walls, which prevented 
 the sixth figure from being drawn. 
 
 7. Right side of the same Sai-cophagus, with two bas-reliefs, 
 of Spring and Autumn. 
 
 8. Adam and Eve, drawn in large from one of the bas-reliefs, 
 on the front of the Sarcophagus, No. 5. 
 
 9. Heads, drawn in lai-ge, taken from the bas-reliefs of the 
 same side. 
 
 10. A bas-relief from the same side, drawn at large. 
 
 11. Detail of a part of the bas-reliefs of the side view, 
 drawn in large. 
 
 12. Sarcophagus of Probus, who died in 395, and also was 
 one of the Anicia family ; it was found in the small temple 
 or Mausoleum, which was erected by his wife Proba at the 
 back of the altar of the old Basilica of St. Peter, and the 
 plan of which can be seen in Plate Lxi. of the Architectural 
 portion of this work. This Sarcophagus, after having served 
 as a font in the Chapel of St. Thomas, in the Basilica, was 
 placed in the first Chapel on the left of the entrance, and from 
 thence it was removed to the Chapel of the Madré di Pietà on 
 the right, where it now is. Its length is 10i palms, its breadth 
 3f, and height 9 palms. (Bottari, Ibid, vol i., p. 55.) 
 
 13 and 17. Two figures of Apostles carved on the front of 
 this Urn. 
 
 14 and 16. Heads of two other Apostles drawn at large. 
 
 15. Birds, in the spandrils of the arches of this Sarcophagus. 
 
PLATE VII. 
 
 FIGURES AND INSCRIPTIONS ENGRAVED IN OUTLINE ON THE SEPULCHRAL STONES OF THE CATACOMBS. 
 
 1. A figure carved or deeply engraved in outline on a stone, 
 which was found in the Catacombs of S. Lorenzo. It is given 
 here in the size of the original, and represents a woman pray¬ 
 ing with hands raised to Heaven; a subject frequently seen 
 in the paintings of the Catacombs, and which the writers on 
 ecclesiastical subjects call “ Orantes.” 
 
 2. A stone from the same Catacombs, on which are engraved 
 a fish, a bird, an anchor, and other emblems of the early 
 Christians. 
 
 3. Engraved inscriptions of the same nature in the same 
 Catacombs. 
 
 4. Two praying figures, Orantes, with an inscription, be¬ 
 ginning with the words thc apabiac. and which is given in full 
 in the “Supplement de l'Antiquité Expliquée par Montfaucon,” 
 vol. v., pi. xxxi. 
 
 5. Various subjects from the Old Testament, engraved in 
 the same style on marble. 
 
 6. The Wise Men of the East, guided by the Star, bringing 
 Offerings to the Child Jesus. 
 
 7. Half figure of a woman, with the inscription— 
 
 SEVERA IN DEO VIVAS. 
 
 8. Another half figure of the woman praying, alluded to 
 above. 
 
 9. Instruments used in this kind of sculpture or carving, 
 the sunk parts of which were afterwards filled in with red or 
 black colour, to show the subject more clearly. 
 
 10. The Good Shepherd, engraved on marble, preserved in 
 the Ecclesiastical Museum of the Roman College. 
 
 11. Figure of a man praying, Orans, engraved on the stone, 
 probably from its inscription on the cover of a tomb, which has 
 been preserved in the Ecclesiastical Museum. The inscription 
 is as follows :— 
 
 FRATER 
 1. PACE. 
 
POPCEU-AHICnORMlT IN P 
 
 Qyiy|T Ann m M x-Dxm 
 
 D Mf zANDpoeçNt-- 
 
 MEpc^rHwnAce'e 
 
 I r^r'ERMOfrccoQV/ 
 OORMII IWPACf AA/OflOXHI 
 
 < /f/f/, . '/s/r 
 
 "'Y' 
 
 
 
 I rMRfVlV^ClvISNtfESINVS MAC DIE XXII 
 
 I iYUIMARTIMOCORONATVSCAPITETKYnCAT'IS 
 ■ ! ... v.IMi| (E5VCRKISTWNCIL 
 lA PPOPfilS MArttBvs SEPEUVI 
 
 1 
 
 MAETTO APfih-1 ARTIBCKI&nARIO ÇVI VI»' 
 
 6 £ 
 
 -Wii xxxwi MENSES o/O DIEW BENem Cl 
 
 FAVSTInAE VIRGINl FORTISSHME 
 ÇUE BKITANN X X I 
 
 | CEC1UAE 
 ! RCRETICI F 
 
 i METELLAE 
 
 i CRASS! 
 
 UntfeNETOAitPOûlns IHCASETM In M H 
 Wpitl'AC-X MM Klv.or TEENONOYMTAO 
 Nat oc 
 
 Af J (xaETTH N EaAH NnAT Pic MOI 6aA 11 
 
 SOMH riOCAEfljs EC 6K TE/>0 va Afn IOY 
 
 IcLAVDIO BENEMERENn STVDIOSO 
 (JYI AM A BIT ME YIXITAN PM* XV 
 
 nabiRa in Pace anima dvlciî 
 QVIBIXIT ANOS pxvi.MV 
 ANIMA MELEIÎA TITVLV FAC TV 
 A PARENTES SIGNVM-NABE Uf\ 
 
 ?Tt TT 
 
 FMRlAFKCRVHr I 
 
 Iis nui ! F 
 PO COlVVl. SANS 1-1 
 
 D-t? 
 
 VA LBll.M TAPR lAfKCRvHrl 
 
 -MOM. FRVCTV 0 ''A 
 
 PoAlivstvPo COIWI.SANC 1 - 1 1 1 * vc/vrv 
 
 cvMovixir.ANiixx E P f u c.' 4 n FWRIDADPPRI . 1 ?. 
 
 FIUVS MATRI DVLOSSl 
 
PLATE VIII. 
 
 COLLECTION OF VARIOUS CARVINGS IN THE CATACOMBS. INSCRIPTIONS ON TOMBS. 
 
 L Pharaoh in his Chariot, drowning in the Red Sea. (Aringhi, Roma 
 Sotterranea, vol. i., p. 331.) 
 
 2. The three young men of Babylon being led before the idols 
 which they refused to worship at the command of Nebuchednezzar. 
 (Ibid, vol. i., p. 587.) 
 
 3. The Resurrection of the Dead—Vision of the Prophet Ezekiel ; 
 part of a Sarcophagus in the Cemctry of the Vatican. (Ibid, vol. 
 i., p. 527.) 
 
 4. Elijah, ascending to Heaven in a fiery chariot, casts his mantle on 
 Elisha; bas-relief on the side of a Sarcophagus, found in the same 
 place. (Ibid, vol. i., p. 305.) 
 
 5. Offerings of Cain and Abel; part of a Sarcophagus from the 
 Campo Santo of St. Agnese. (Ibid, vol. ii., p. 167.) 
 
 6. Noah in the Ark taking the Olive Branch from the Dove ; part of 
 a Sarcophagus in the Cemetry of St. Calixtus, near St. Sebastian, out¬ 
 side the walls of Rome. (Ibid, vol. ii., p. 401.) 
 
 7. Moses, on Mount Sinai, receiving the Tables of the Law from God ; 
 part of a tomb. (Ibid, vol. ii., p. 395.) 
 
 8. The Seven-branched Candlestick, from a manuscript on the Cat- 
 combs, by M. Francesco Pena, auditor of the Spanish Rota in the reign 
 of Philip II. This manuscript, which is illuminated with figures, is pre¬ 
 served in the Library of the Vatican, No. 5409. Aringhi (Roma Sot¬ 
 terranea, vol. ii., p. 651) inquires into the causes why Christians took 
 this allegorical representation of the candlestick of seven branches from 
 the Jews. The four feet of the candlestick are the four symbolical 
 beasts of the Evangelists. 
 
 9. Christ and the Woman of Samaria; Sarcophagus, from the 
 Cemctry of the Vatican. (Ibid, vol. i., p. 297.) 
 
 10. Christ giving the Keys to St. Peter; part of a Sarcophagus in 
 the old Basilica of the Vatican. (Ibid, vol. i., p. 293.) 
 
 11. The Martyrdom of St. Sebastian; bas-relief in terra cotta from 
 Catacomb of St Priscilla on the Via Salara. (Ibid, vol. ii., p. 335.) 
 
 12. The Good Shepherd and a pastoral subject; Sarcophagus, from 
 the Cemetry of the Vatican. 
 
 13. Adoration of the Magi ; bas-relief in a small court of the Church 
 of St. Paul, outside the walls of Rome. 
 
 14. The Sacrifice of Abraham ; fragment of a Sarcophagus, on which 
 is another fragment, with two figures representing two of the seasons. 
 
 15. The Men in the Fiery Furnace ; fragment of a Sarcophagus, with 
 an inscription. 
 
 16. Fragment of a Sarcophagus, subject unknown. 
 
 17. A glass flask out of the Catacombs, bound round with straw, simi¬ 
 lar to those still used in Rome. (Boldetti, Osservazioni, &c., p. 183.) 
 
 18. Two winged Genii witnessing a cock-fight; bas-relief of a Sar¬ 
 cophagus in the Cemetry of St. Agnes, outside the walls of Rome. 
 (Aringhi, Roma Sotterranea, vol. ii., p. 614.) According to this au¬ 
 thor, this amusement, which among the English is much used, is of great 
 antiquity. The Greeks used to let cocks and quails fight together in a 
 kind of cage called “ Thalia,” or 2HAIA. 
 
 19. A Sculptor in his Studio completing a Sarcophagus; bas-relief 
 from the Catacombs of St. Helena. (Fabretti, Inscript. Antiq., p. 587.) 
 Gori gives a drawing of a tombstone, which was in his time in the 
 Nicolina Palace at Florence, and on which are all the various tools used 
 for Sculpture. (Gori, Inscript. Antiq., vol. iii., p. 142, No. 172 of 
 the Appendix.) 
 
 20. Fragment of a bas-relief from the Catacombs, representing a 
 Love-feast ; the bread is marked with a cross. 
 
 21. Two glass vessels to contain the blood of the Martyrs, and after¬ 
 wards enclosed in their tombs. (Boldetti, p. 187.) The length of these 
 vases might induce the supposition that they were the symbolic tear- 
 bottles. These were found with traces of blood on them. 
 
 22. Stamp on a brick or tile, in the middle of which is a lamp, 
 indicating that its maker was a Christian. (Boldetti, p. 528; 
 Buonarotti, Osservazioni sopra alcuni frammenti antiqui di vasi anti- 
 qui, di vetro, p. 74, and pi. ix., fig. iv.) 
 
 23. A Christian Seal-ring, found in the Cemetery of St. Agnes; the 
 stone is the shape of the sole of a foot, on which the word “ justus ” is 
 engraved. (Aringhi, Roma Sotterranea, vol. ii., p. 698.) Buonarotti in his 
 preface mentions this ring, and also speaks of the custom of the early 
 Christians in using similar stamps or marks on the tombs of their I 
 dead. 
 
 24. Pincers which were used in the Martyrdoms, and were found in ' 
 the Catacombs of the Vatican. (Ibid, tom. ii., p. 684.) Gori has given 
 other instruments of this nature in his work. (Inscript. Antiq., vol iii 
 
 pi. 357., No. 32.) 
 
 ^5. Two symbolical fish, in lead, in the Cabinet of the Abbati Lelli ! 
 
 26. A lamp in terra cotta, of the same kind as those so frequently 
 found in the mortar with which the tombs of the Martyrs in the Cata¬ 
 combs were so carefully closed up. 
 
 27. A small portable altar of terra cotta, with two lamps to lmht it ; 
 from the Catacombs. (Aringhi, Roma Sotterranea, vol. i., p. 519.) 
 
 28. A lamp of terra cotta, on which is a dove holding the 
 olive branch of peace. 
 
 29. One of the symbolical signs of the early Christians, representing 
 a double cross ; it was found in one of the Catacombs on a fragment of 
 granite. Boldetti (p. 351) mentions that a similar sign is engraved on a 
 lamp which is preserved in the Museum Christianum in the Vatican. 
 There is one also on the dress of one of the grave-diggers which he gives 
 at p. 60, and which is also given in this work in the part on Painting. 
 This is the form of cross still in use in Thibet, in the representations of 
 the crucified Saviour. (Fr. Anjustini Antonii Giorgi, Alphabctum Thy- 
 betanum ; Romæ 1762, in 4to., p. 211,460, 725.) 'in the work, Spie- 
 gazione e reflessione sopra alcuni sacri monumenti antichi de Milano 
 inediti; Milano, 1757, in 4to. fig. in which are given the bas-reliefs of a 
 very precious Sarcophagus in the Cathedral of Milan, the Dominican 
 Giuseppe Allegranza remarks that this kind of cross is made of four T’s 
 intertwining; and refers, in further illustration of the subject, to Gori’s 
 clear treatise, “ De Mitrato Capite Jesus Christi.” Visconti considers 
 that these crosses were often only simply used as signs of separation or 
 conclusion, as stops are in writing ; and mentions having seen them so 
 placed in coins and old weights. (Dissertaz su due Mosaici ant., &c. ; 
 Parma, 1788, in 8vo., p. 43.) 
 
 30. Inscription on a tomb, under which is the allegorical figure of 
 two feet. (Lupi, Ad Epitaphium Sever® martyris, &c., p. 69.) 
 
 31. Seal-ring with Christian symbols. (Aringhi, Roma Sotterranea, 
 yol. ii., p. 708.) The name on this ring, as well as that on the inscription 
 in No. 43 of this plate, is known, without any doubt, to be that of Christ. 
 There are various opinions among the antiquaries as to the exact time at 
 which it was used: some supposing the time of Constantine; others, judg¬ 
 ing from the frequent use of them long before the reign of this prince, a 
 much earlier period. This last opinion is founded, as Buonarotti remarks, 
 from the great number of inscriptions and monuments found in the 
 Catacombs. (Osservazioni sopra alcuni frammenti di vetro, p. 12.) 
 
 32. Grating, hewn out of a stone, which served to give light to the sub¬ 
 terranean Church of St. Silvestro, near St. Martino ai Monti. These kind of 
 gratings were very common in the Catacombs. Wincklemann has treated 
 upon them, in his work on the windows of the ancients (Osservazioni 
 soil’ Architettura degli antichi, vol. iii., p. 74, Delle Storia dellc arii.) 
 The fragments described under Nos. 14, 15, 16, 21, 26, 28, 29, as well 
 as the three first of the preceding table, are from Agincourt’s collection. 
 He presented them to the Museum of Christian Antiquities in the Vatican, 
 where they still are. 
 
 VARIOUS INSCRIPTIONS WHICH WERE FOUND IN 
 THE CATACOMBS. 
 
 Quasi hakeant lime saxa religionem suam. 
 
 33. An inscription, in which is the monogram of Christ, an anchor 
 and a dove, emblems commonly found together in the Christian monu¬ 
 ments. (Boldetti, Osservazioni sopra i Cimetcrj, &c., p. 339.) 
 
 34. An inscription and memorial of friendship. (Ibid, p. 390.) 
 
 35. Another beautiful inscription. (Marangoni, Acta Sti Victorini 
 p. 85.) 
 
 36. An inscription expressive of pity. (Boldetti, p. 407.) 
 
 37. An inscription to the memory of Fructuosa Florida. (Ibid, p. 453.) 
 
 38. An inscription in rudely formed letters. (Lupi, Ad Epitaph. 
 Sever® martyris, &c., p. 13.) 
 
 39. An inscription, apparently of a Sculptor. (Artifici signario. 
 Boldetti, p. 316.) 
 
 40. An inscription in the Greek character. (Ibid, p. 412.) 
 
 41. An inscription in Greek, expressive of the aflecting and tender 
 farewell of a father to his daughter Tyclie. This is an example in which 
 the word 1TXH is employed as a proper name. Gori gives two ex¬ 
 amples of the same word ; the one on a jasper to denote happiness, the 
 other used as a proper name on a tombstone, from the Palace Nicolini at 
 Florence. (Gori, Inscript. Antiq., vol iii., pp. 141, 142; Nos. 166, 
 172 of the Appendix.) 
 
 42. A Christian inscription of great simplicity, imitated from the 
 antique. 
 
 43. Another, taken from Fabretti. (Inscript. Antiq. ; Rom®, 1702, p. 
 738, No. 419). A single word expresses the Martyrdom of a Saint, 
 confirmed by the Monogram of Christ. 
 
 44. An inscription found in the Cemetry of St. Agnes. (Ibid, 
 p. 576; Boldetti, p. 373.) There is a ship drawn on it, and an allusion 
 to the name Nabira. This was a frequent custom of the very early Chris¬ 
 tians, as Buonarotti remarks. (Osservazioni sopra i vetri, pp. 9, 10 
 of the preface.) 
 
 45. An inscription in Latin, but the letters are a mixture of Greek 
 and Latin. (Boldetti, p. 343.) 
 
 46. An inscription to the memory of the Martyrdom of St Marculus. 
 This is an irrefutable proof of the fact, and is very important, as it is 
 often found in the Catacombs. 
 
 47. An inscription in Greek, in the middle of which are two fish 
 and an anchor. (Ibid, p. 370.) 
 
 48. Inscription from the Mausoleum of Cæcilia Metella, on the Via 
 Appia in Rome, an example of the concise writing of the ancients. 
 
 49. An inscription in Greek language and character. (Ibid, p. 390.) 
 
 50. An inscription having a pig engraved under it, in allusion to the 
 name Porcclla. (Ibid, p. 376.) 
 
 Sculpture C 
 
I 
 
 I 
 
 A SILVER BOX, A CASE FOR PERFUMES, AND OTHER THINGS APPERTAINING TO THE TOILET OF 
 A ROMAN LADY. FOURTH OR FIFTH CENTURY. 
 
 1. A silver box or Pyxis, 2£ palms in length, 2 in breadth, and 1 in 
 height. This toilet ease, with the names of Sccundus and Projecta 
 engraved on it, appears to have been a marriage present to Projecta. 
 It is a great curiosity, and decorated with figures and bas-reliefs chased in 
 silver; it was discovered in 1793, in Rome (as also the other objects in 
 this plate), near Mount Esquinal, near the Church of S. Silvestro e Mar¬ 
 tino ai Monti, on the side nearest the cloister of the Convent of St. Lucia 
 in Selcè. Visconti has published a learned dissertation on these same 
 antiquities (Lettera di Ennio Quirino Visconti su di una antica argentina, 
 &c. ; Roma, 1793, in 4to.), but has given no representation of them. 
 They have passed into the possession of a Prussian nobleman, the Baron 
 Von Schellerheim. 
 
 2. Upper side of the lid of the box on which are the portraits of the 
 noble pair enclosed in a wreath of myrtle, supported by two Cupids. 
 (Visconti, Lettera, &c., pp. 5, 6.) The four sides of this cover have bas- 
 reliefs, all illustrative of the purpose of this box. No. 1 is the toilet of 
 Venus, a Triton holding the glass before her. The one on the right side 
 was found destroyed, and those of the two other sides are given in 
 Nos. 4 and 5. The draperies and ornaments of these bas-reliefs are gilt, 
 with the exception of those on the back Around the edge of the cover, 
 which moves on two hinges, is the following inscription, which is given 
 in No. 8, in the size of the original :— 
 
 SECUNDE PROJECTA VIVATIS IN CHRI .... 
 
 3. The portraits in the circle on the top in the size of the original. 
 
 4. Bas-relief on the back of the cover, representing the lady being 
 conducted to the house of her husband. The style of its architecture 
 does not show it to be very early Roman. The twisted columns in this 
 as also in Nos. 1 and 9, are a proof that it dates from the decline of 
 ancient art. 
 
 5. Bas-relief of a Nereid, or Sea nymph, swimming in the waves, 
 and accompanied by a Cupid ; this is on the left side of the cover, the op¬ 
 posite one on the right side has, as has already been said, been destroyed. 
 
 6. Two figures in the size of the original, from the lower part of the 
 side opposite to that given in No. 1, of the young wife arranging her hair 
 and looking into the glass held by one of her maidens. This glass is of 
 a form much more convenient and modern than is usually seen in pictures 
 in which ancient glasses are represented. (Ibid, p. 8.) 
 
 7. Another of her women holding a lighted torch, a part of the pre¬ 
 ceding bas-relief. The lower part of her dress is more richly ornamented 
 than the dress of the woman who holds the glass, and resembles the 
 style of those used by the Dapiferi and Deaconesses in the first century 
 of the church. One of the three women, represented in the lower part3 
 of No. 1, carries other necessaries of the toilet. 
 
 8. The inscription on the lid in the size of the original. This formula, 
 in use from the third to the fifth centuries, would show that this magni¬ 
 ficent piece of furniture was a gift from a parent or friend of the married 
 couple. 
 
 9. A silver box, found at the same place as the preceding ; it being 
 surrounded with niches in which are figures of the Muses, it may have 
 been a case for manuscripts or valuable books. In one of the niches to 
 the right is a lock. (Ibid, pp. 8, 9.) 
 
 9. Plan of the box, the interior traversed by a plate of copper pierced 
 with five openings, to receive, probably, scent bottles. 
 
 9. Two vases for scent ; the large one is from the centre opening, the 
 smaller, with three similar ones, filling the four other spaces. 
 
 10. Clio, one of the eight muses in the niches surrounding the box. 
 The ninth stands on the top of the cover. This figure is remarkable from 
 the tablets she is holding, and for the scrinium filled with rolls of paper 
 which is at her feet. 
 
 10. Melpomene, characterized by the club and the mask she is 
 holding : both these figures are in the size of the original. (Ibid, pp. 
 9, 10.) 
 
 11. Two small dishes or saucers in silver, the one round, the other 
 square. There were four round and five square. These also seem to have 
 been used by the same persons, as on the ground of one of them is the 
 cypher, or monogram, of projecta TVRCI. Turcius Secundus and 
 another member of the same family are known to have held a high rank 
 in Rome in the fourth century. (Ibid, p. 12.) On one of the four dishes 
 is the following inscription:— 
 
 SCT: llll: P:V: SCUTELLÆ QUATUOR PONDO QUINQUE. 
 
 This is the weight of the four round saucers collectively. 
 
 12. A broken vase, on which is the following inscription, phrased in 
 the manner most in use at that period :— 
 
 PELECRINA. VTERE. FELIX. 
 
 The letters arc engraved in the metal in the manner called by the 
 Italians niello, in Latin nigellum. (Ibid, pp. 13, 14.) 
 
 13. Another silver vase, which is decorated with figures and arabesque 
 chased, and damascened. (Ibid, p. 13.) 
 
 14. Front and side view of a silver spoon, used for rouge and oint¬ 
 ments. (Ibid, p. 14.) 
 
 15. A sort of candelabra in silver, being a woman’s arm holding a 
 light. There were two of them, which appear to have been fastened to 
 the wall of a room, as is the case with us. It is no doubt the form 
 which gave rise to the term braccia for these kind of candelabra. 
 
 16. A small silver statue sitting, the greater part of it gilt, emblematic 
 of the city Alexandria. She is characterized by a tower on her head, 
 fruits and plants in her hands, and the prow of a ship at her feet This 
 city was thus represented on the coins. 
 
 17. A little statue of Rome with the helmet on her head, .and holding 
 a shield and lance. 
 
 18. A small statue of Constantinople; this second Rome has also a 
 helmet on her head, but as a goddess she holds the sacrificial plate in 
 one hand, and a cornucopia in the other, in the same way as she is 
 represented on coins. • 
 
 19. A small statue of Antioch, with towers as her crown, and at her 
 feet the half figure of the river god Orontes. She is similarly represented 
 on her coins. 
 
 These four symbolical statues of the four great cities of the Roman 
 Empire were placed at the outer ends of the lever of a curule chair 
 (gestatoria). They were gilt, with the exception of the back. The 
 statue No. 16 is given in half the size of the original. The others. Nos. 
 17,18, and 19, are given partly in front view, partly in profile, to show their 
 position and use, and in what manner they were placed on the levers, 
 from which they could at pleasure be separated by means of hasps or pegs, 
 which were fastened by little chains and shot through the outer end of 
 the lever. The silver foliage, attached by a link under each figure, 
 served to conceal the hasp or peg. (Ibid, pp. 15, 16.) 
 
 20. Vase in the form of a cup; this is superior in style and execution 
 to many of the preceding works. The lower part is formed of a head, 
 apparently of a bacchante. The eyes, necklace, pearls on the forehead, 
 and the head-dress are all in silver ; the other parts of fine bronze, of or 
 with a very beautiful oxyde. The handle of the vase is formed of 
 branches of vine intertwining. (Ibid, p. 21 of the Appendix.) 
 
 21. A basin cast in silver, 02 ozs. in weight; with a handle similar to 
 those on the sacrificial plate. The rim is ornamented with little shells 
 in varied work, which might have been intended to contain perfumed 
 waters, or perhaps merely for sprinkling water in the baths, as was the 
 practice with the ancients. 
 
 22. The toilet of Venus, the subject of the bowl of the basin. No. 21. 
 The goddess, geminorum mater amorum, is sitting in the centre of a shell, 
 and has two little Cupids attending her, the one of them holding a glass, 
 and the other a lily, a very rare attribute of Venus. 
 
 23. Adonis standing with a lance in his hand and a dog at his feet. 
 This figure, which ornaments the handle of the cup, is, as well as the 
 preceding, in half size of the original. (Ibid, pp. 21, 22.) 
 
 24. Monogram of Christ, in its most ancient form, and with the 
 mystical letters a and to ; it was found later than the other subjects, and 
 it probably formed the termination of the inscription, Nos. 1 and 2. 
 
 25. IN CHRI . . . , a fragment of an inscription also found later. 
 This is the commencement of In Christo, which, added to the preceding 
 monogram, might allow one to suppose that “Projecta” was a 
 Christian. 
 
 
J CV TUI IPV/ 
 
PLATE X. 
 
 BAS-RELIEFS ON THE PEDESTAL OF THE OBELISK ERECTED BY THEODOSIUS IN THE HIPPODROME AT 
 CONSTANTINOPLE, AT THE END OF THE FOURTH CENTURY. COINS OF THE SAME PERIOD. 
 
 1. Large medal of the Emperor Theodosius, in bronze, 
 from the collection of the Abbé Tanini. 
 
 2. Gold and silver coins of Theodosius, Arcadius, and 
 Honorais, in Agincourt’s collection. 
 
 3. The Egyptian Obelisk, placed by Constantine in the 
 Hippodrome at Constantinople, afterwards thrown down by an 
 earthquake, and re-erected by Theodosius. On the four sides 
 of the pedestal are bas-reliefs in honour of Theodosius. The 
 Obelisk is from 70 to 80 palms in height. (Zoega, De Origine 
 et Usu Obeliscorum ; Romæ, 1797, in fol. fig., Synopsis, p. iv.) 
 
 4. South side of the pedestal of this Obelisk. The greater 
 number of the figures in this bas-relief wear the toga; the 
 others have lances and shields. 
 
 5. East side of the same pedestal. The subject of this 
 appears to be the Emperor in his tribune with a large assembly 
 of people looking at some dancers. In the inner part is a 
 Latin inscription having reference to the erection of the Obelisk 
 by Theodosius. (Zoega, p. 56.) 
 
 6. North side. The Emperor is here represented receiving 
 the petitions of his subjects : at the upper part, on the right, is 
 the monogram of Christ. 
 
 7. West side. The Emperor on his throne, receiving 
 presents from persons who are kneeling. On the base is a 
 Greek inscription relative to the erection of the Obelisk. 
 
y: r <- x/ 
 
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 >////,/ 
 
 
 
 
 / 
 
 MÉliÉÉI 
 
PLATE XII. 
 
 BAS-RELIEFS ON GREEK AND LATIN DIPTYCHONS AND OTHER WORKS IN IVORY. FOURTH TO ELEVENTH CENTURY, 
 
 GREEK SCHOOL. FOURTH CENTURY. 
 
 1. Ivory Tablet, formerly in the Baruffaldi Cabinet at 
 Ferrara, on which are represented the Death of Adam, and of 
 Abel, and the Creation of Eve. (Gori, Thesaurus Veterum Dip- 
 tychorum, vol. ii., p. 161.) 
 
 LATIN SCHOOL. FOURTH OR FIFTH CENTURY. 
 
 2. Ivory Tabernacle decorated with a bas-relief, from the 
 treasures of the Church of St. Ambrose, at Milan. (Ibid, vol. iii., 
 part ii., p. 74.) 
 
 3. Half of the bas-relief of the outer side of this Tabernacle ; 
 the subject is the History of Jonas. 
 
 4. The other half of the same bas-relief; the subjects are the 
 Miracles of our Saviour, the Giving Sight to the Blind, the 
 Healing the Palsy and the Woman with the Issue, and the 
 Raising of Lazarus. 
 
 GREEK SCHOOL. SIXTH CENTURY. 
 
 5. The Emperor Justinian, seated on his throne, the globe 
 in his hand, in the consular and imperial robes; Greek Dipty- 
 chon in the Riccardi Palace at Florence. (Ibid, vol. ii., p. 259.) 
 
 6. Half female figures, on a Diptychon, in the cloisters of 
 St. Corneille at Compeigne ; the name of Philocuus, who was in 
 525 Consul of the East, is engraved on it. (Ibid, vol. ii., p. 19.) 
 
 7. Clementinus, Consul of the East, sitting, with his badges 
 of office, between the figures of Rome and Constantinople; 
 Greek Diptychon, which was formerly in Nuremberg, and 
 appears to belong to about the date 513. (Ibid, vol. i., p. 229.) 
 
 8. Female Head of the same Diptychon, in a medallion at 
 the top on the right of the cross; it is probably intended for the 
 Empress Ariadne, wife of the Emperor Anastasius, whose por¬ 
 trait is in the medallion to the left. 
 
 LATIN SCHOOL. SIXTH CENTURY. 
 
 9. Chariot Race in the Circus, on a Latin Diptychon of 
 Lampadius, Consul of the West in the year 530, as shown by the 
 mutilated inscriptions on it. . ampadiorvm. (Ibid, vol. ii.,p. 25.) 
 
 10. Head, drawn at large, of one of the two figures on the 
 tribune of the preceding Diptychon, on the right of the Consul 
 Lampadius. 
 
 GREEK SCHOOL. FOURTH CENTURY'. 
 
 11. Representation, probably, of Stilicho, Consul of the East 
 under Theodosius the Great, seated in his senatorial chair and 
 giving the sign to the players in the amphitheatre to commence, 
 some of whom are seen in the lower part. It is part of a 
 Diptychon, which formerly belonged to M. du Tillot, at Dijon. 
 (Ibid, vol i., p. 121.) 
 
 LATIN SCHOOL. 
 
 12. Apotheosis of Romulus; Latin Diptychon, from the 
 cabinet of Count Gherardesca, at Florence : its exact date is not 
 known. (Ibid, vol. ii., p. 118.) 
 
 GREEK-LATIN SCHOOL. SEVENTH OR EIGHTH 
 CENTURY. 
 
 13. The Annunciation, the Visitation, and the Birth of 
 Christ; bas-relief on an ivory plate, in the Cospi Cabinet at 
 Bologna. (Ibid, vol. iii., p. 272.) 
 
 GREEK SCHOOL. NINTH OR TENTH CENTURY. 
 
 1L The Birth of Christ ; bas-relief on an ivory tablet, which 
 formerly belonged to Agincourt’s collection, and is now in the 
 Museum of Christian Antiqidties in the Vatican. 
 
 15. Head of the Virgin, drawn at large, taken from the 
 same bas-relief. 
 
 LATIN SCHOOL. NINTH CENTURY. 
 
 16. The Virgin and Child between two Cherubims ; part of a 
 Latin Diptychon, from the Cloisters Rambonensa or Arabona, in i 
 the neighbourhood of Ancona, built in 883 by the Empress I 
 Ageltruda, wife of Gui, duke of Spoleto, afterwards king of Italy 
 
 and Emperor in the year 891. This is proved by the following 
 inscription, which Gori explained after Montfaucon, and which 
 we give here entire, with the original orthography:— 
 
 CONFESSORIS DNI SOIS GREGORIVS SYLVESTRO FLA 
 VIANA CENOBIO RAMBONA AGELTRVDA CONSTRVXI. 
 
 Still lower, on the same part of the Diptychon, can be read 
 the following other inscription :— 
 
 QVOD EGO ODELRICVS INFIMVS DNI SERBVS ET ABBAS 
 SCVLPIRE MINI SIT IM DOMINO, AMEN. 
 
 Montfaucon, and after him Gori, explain both these inscrip- 
 tions as follows :— 
 
 Confessoribus Domini Sanctis Gregorio, Sylvestro, Flaviano, 
 Cœnobium Rambona Ageltruda construxi. 
 
 Quod ego Odelricus infimus Domini servus et abbas 
 Sculpire mihi sit in Domino, Amen. 
 
 This Diptychon belonged to the Senator Filippo Buonarotti, 
 and is now in the Museum Christianum of the Vatican. (Ibid 
 vol. iii., p. 155.) 
 
 17. Head, at large, of the Virgin, from the preceding 
 
 Diptychon. 6 
 
 GREEK-LATIN SCHOOL. ABOUT THE TENTH CENTURY. 
 
 18. Roman Soldiers guarding the Tomb of Christ—the 
 
 Hanging of Judas-part of an ivoiy tablet of Latin sculpture, 
 kept among the treasures of St. Ambrose, at Milan. (Ibid, vol iii 
 p. 267.) ‘ ’’ 
 
 GREEK SCHOOL. TENTH CENTURY. 
 
 19. Christ sitting, giving his Blessing; behind him are two 
 angels, and on either side are the Virgin and John the Baptist; 
 a part of an ivory Triptychon, in the Museum Christianum of 
 the Vatican. (Ibid, vol. iii., pi. xxiv., pp. 217-228.) This is 
 of the ninth century ; though approaching the period of the 
 lowest state of Art, it will be seen by it how the Greek School 
 always maintained its superiority over the Latin. 
 
 20 . Herod’s Feast, fr om the Life of St. John the Baptist. This 
 
 is copied from a silver church book of the Baptistery of St. John 
 at Florence; it is of the Greek School, and of the tenth or 
 eleventh century. (Ibid, vol. iii., p. 349.) 
 
 LATIN SCHOOL. TENTH OR ELEVENTH CENTURY. 
 
 21. The Resurrection of Christ, on an ivory tablet in the 
 Museum Christianum. (Ibid, vol. iii., p. 277.) 
 
 TENTH CENTURY. 
 
 22. An ivoiy vessel or vase for holy water, one of the trea¬ 
 sures of the Cathedral of St. Ambrose, at Milan, with the 
 following distich, which shows that this was a gift made to 
 the Basilica by the Archbishop Gotfredus, who held the chair 
 of Milan from 973 to 978. (Ibid, vol. iii., Dissertation de Passeri 
 pp. 75-77.) 
 
 Vates Ambrosii, Gotfredus dat tibi Sancte, 
 
 Vas veniente sacram spargendum Cæsare lymphan. 
 
 The Emperor to whom this verse refers is Otho, to whom 
 Gotfredus owed his elevation. 
 
 23. The bas-reliefs which surmount this holy-water vessel ; 
 they are five subjects in arched niches, representing the Virgin 
 and Child and the four Evangelists. 
 
 GREEK SCHOOL. ELEVENTH CENTURY. 
 
 24. The Transfiguration of Christ and the Descent from the 
 Cross. Both these subjects are on one of the ivoiy tablets that 
 form the cover of a manuscript of the Gospels, in the Barberini 
 Library, in Rome. (Ibid, vol. iii., pi. xxvii., p. 283.) 
 
 GREEK OR LATIN SCHOOL. ELEVENTH CENTURY. 
 
 25. Standing figure of the Redeemer. 
 
 26. The Virgin praying, surrounded by the Apostles ; part 
 of a Diptychon, which had, also, been the cover of a manuscript 
 of the Gospels of the ninth century. This Diptychon was for a 
 long time in the Duomo at Florence, but is now in the Barberini 
 Collection. (Ibid, vol. iii., pi. vii., pp. 33-40.) 
 
 Sculpture D 
 
PLATE XI IL 
 
 GREAT DOOR OF THE CHURCH OF ST. PAUL OUTSIDE THE WALLS OF ROME, ENRICHED WITH FIGURES, 
 ENGRAVED IN OUTLINE IN THE BRONZE, AND FILLED IN WITH SILVER. 
 
 EXECUTED IN CONSTANTINOPLE. ELEVENTH CENTURY. 
 
 This door is of wood and covered with strong plates of 
 bronze. The whole front is divided into six equal parts in 
 width, and nine in height, giving fifty-four oblong compartments 
 containing subjects, figures, and inscriptions. 
 
 The subjects are taken from the life of Christ, from the An¬ 
 nunciation and Birth to the Ascension and Coming of the Holy 
 Ghost. These subjects, twelve in number, occupy the panels of 
 the upper part to the left ; the corresponding panels to the right, 
 and those to the left on the lower part, contain standing figures 
 of the twelve Apostles, whose deaths or martyrdoms are given 
 in the panel adjoining each apostle. The panels on the lower 
 part to the right contain standing figures of the twelve 
 Prophets. In those on the middle line are two crosses and two 
 
 inscriptions, and in the two corner panels on the bottom line 
 are two eagles. 
 
 These figures are not in relief, but engraved in outline in 
 the bronze, and the lines filled in with silver ; which, however, 
 time and the cupidity of man have tended nearly to destroy. 
 The inscriptions are in Greek, Latin, Arabic or Syriac. 
 
 It might have been deemed sufficient, in order to show the 
 style and execution of this work of art, to have given only one 
 of the panels in large size, it having already been published by 
 Ciampini in his Vetera Monimenta, vol. i., pi. xviii., p. 35 and 
 following, but the little accuracy shown in his plates, renders it 
 necessary to give in this work the whole of the subjects and 
 details. 
 
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PLATE XIV. 
 
 SUBJECTS ON THE PANELS OF THE DOOR OF THE CHURCH OF ST. PAUL DRAWN AT LARGE. 
 ELEVENTH CENTURY. 
 
 1. The Annunciation. 
 
 10. The Birth of Christ. 
 
 19. Clirist in the Temple. 
 
 2. The Baptism of Christ. 
 
 11. The Transfiguration of Christ on Mount Tabor; Moses 
 and Elias on either side of him, and at the foot of the mountain 
 are his disciples, Peter, James, and John. 
 
 20. The Entrance of Christ into Jerusalem with the Palm 
 Branches. 
 
 3. Christ on the Cross, his Mother and St. John. 
 
 12. The Descent from the Cross. 
 
 21. The Resurrection of Christ. 
 
PLATE XV. 
 
 SUBJECTS AND INSCRIPTIONS ON THE PANELS OF THE DOOR OF THE CHURCH OF ST. PAUL 
 ELEVENTH CENTURY. 
 
 4. Christ appearing to Ins Disciples through the Closed 
 Doors—the Unbelief of Thomas. 
 
 13. The Assumption of the Virgin. 
 
 22. Pentecost, or the Descent of the Holy Spirit on the 
 Apostles, with the Gift of Tongues. 
 
 5. Greek Cross, with the monogram of Christ. 
 
 14. Inscription in Latin verse, calling upon those entering 
 the church to pray for him who presented these doors 
 
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 HAS. PER QVAS INTRAS STVDIOSIVS INSPICE PORTAS, 
 
 ET SIC INGRESSVS DOMINO FER CVM PRECE FLETVS, 
 
 VT DEVS HVIC REQVIEM CONCEDAT HABERE PERENNEM; 
 IMPETRET HOC ILLI SIMVL INTERCESSIO PAVLI, 
 
 QVEM QVIA DILEXIT DECORAVIT MVNERE TALI. 
 
 23. St. Paul martyred at Rome. The standing figure of 
 this Apostle will be found under the following number. 
 
 6. Christ and St. Paul. At their feet is a man prostrating 
 himself; the person, no doubt, named in the inscription in the 
 hand of Christ :— 
 
 Pantaleon stratus veniam mihi posco reatus. 
 
 This was the Consul Pantaleon, under whose auspices this work 
 was carried on at Constantinople, as mentioned in the inscription 
 41 in pi. xviii., and in that marked D in pi. xx . 
 
 15. The Crucifixion of St. Peter, the head downwards, 
 under the Emperor Nero. 
 
 24. St. Peter, standing, with a key in his hand. 
 
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PLATE XIX. 
 
 FIGURES FROM TIIE PANELS OF THE DOOR OF ST. PAUL, CONTINUED. 
 
 ELEVENTH 
 
 CENTURY. 
 
 34. Jeremiah, with the inscription in his hand :— 
 
 44. Elisha ; Ciampini translates the Greek inscription 
 
 Hic Dominus uoster et non imputabitur alius. 
 
 he is holding:— 
 
 Ego ab ore altissimi exivi. 
 
 43. Ezekiel ; his inscription is 
 
 53. Jonfis, with these words :— 
 
 Induxit me per viam portæ borealis. 
 
 Clamavi de tribulatione. 
 
 52. Daniel, holding the inscription :— 
 
 
 Constituit Deus cceli regmim quod eritin æteraum. 
 
 36. Ilabakkuk, with the inscription :— 
 
 35. Elijah. The Greek inscription which he is holding is very 
 incorrectly given by Ciampini (Ibid, p. 39) ; he interprets the 
 commencement thus:— 
 
 Dominus a Libano veniet et sanctus de monte. 
 
 45. Zephaniah. 
 
 Expecta me in die ressurrectionis. 
 
 Cognovit omnis, populus quod tu solus Dominus Deus. 
 
 54. An Eagle with outspread wings, similar to the 
 
 What the last words are he does not attempt to make out. 
 
 pi xvL, No. 9. 
 

PLATE XX. 
 
 FIGURES, INSCRIPTIONS, AND LETTERS, DRAWN AT LARGE 
 
 FROM THE DOOR OF THE CHURCH OF ST. 
 
 PAUL. 
 
 4. Drawing at large of the panel No. 4, already given in 
 pi. xiii. and xv. It represents, as has been described, Christ 
 appearing to his Disciples through the closed doors, and St. 
 Thomas laying liis finger on the wound of our Lord. 
 
 48. Drawing of another panel; the subject the Death of 
 St. Luke. It is given in pi. xiii. and xvii. 
 
 7. A figure, full size, and traced from the original, panel 
 No. 7, m pi. xiii. and xvi., one of the executioners of St. 
 Andrew. 
 
 A. Specimens of the letters of the Greek inscriptions traced 
 &om the originals. 
 
 B. Inscription, marked B in pi. xiii., which is considered by 
 Ciampini (Vetera Monimenta, p. 42) to be in Arabic. He gives 
 the following translation of it :— 
 
 Operatus est in hac janua, virtule Dei. 
 
 - • • oportet ut, quisquis legit, oret pro eo ; 
 
 but a great Oriental scholar, consulted by Agincourt, was of 
 opinion that it was not in Arabic, but in old Syriac, and very 
 difficult to decipher. 
 
 C. Greek inscription, marked C in pi. xiii., translated by 
 Ciampini thus:— 
 
 Actum est manu mea, Stauracii Tuchiti, legentes, orate etiam pro eo. 
 
 D. Latin inscription, marked D, pi. xiii., explains that this 
 door was constructed at Constantinople in 1070, during the 
 pontificate of Alexander II., under the auspices of the Consul 
 Pantaleon, he who is represented at the feet of St. Paul in No. 
 6, pi. xv., and of whom the inscription speaks, No. 41, pi. viii. ; 
 and of the Monk Hildebrand, archdeacon of the Roman Church, 
 who had been sent on a mission from the Pope to the Greek 
 Emperor at Constantinople, and was afterwards celebrated as 
 Gregory VII. 
 
 Ciampini remarks an error in the inscription, which states 
 that this door was executed at Constantinople in the time of 
 Alexander IV., instead of Alexander II., who held the chair of 
 St. Peter in 1070. (Ibid, p. 42.) 
 
 Sculpture F 
 
PLATE XXL 
 
 BAS-RELIEFS AND SCULPTURES IN MARBLE. CHASINGS IN BRONZE AND SILVER. 
 TWELFTH CENTURY. 
 
 1. Lower part of the door of a Reliquary preserved in I 
 Rome, in the Oratory called the Sancta Sanctorum, near the 
 Basilica of St John Lateran. This work, on plates of silver 
 chased, was executed by order of Innocent III., who reigned 
 from the end of the twelfth to the beginning of the thirteenth 
 century. 
 
 2. Figure of St. Paul, full size, taken from one of the wings 
 of this door. 
 
 3. Figure of the Virgin, from one of the sides of the 
 door of tliis Reliquary. 
 
 4 An Angel in adoration, from one of the sides of the same 
 door. 
 
 5. Figure of St. Peter, full size, from the same. (Marangoni, 
 Storia dell’ antichissimo oratorio, o capella di S. Lorenzo nel 
 patriarchio Lateranense, communemente appellate, Sancta Sanc¬ 
 torum, &c. ; Romæ, 1747, in 4to fig., p. 92.) 
 
 6. God creating Eve ; part of one of the bas-reliefs of the 
 principal entrance to the Cathedral of Modena, the elevation of 
 which is given in the Architectural section, pi. Lxiv., No. 12. 
 Tliis bas-relief is over the side door on the right, and is by 
 the sculptor Clarté Viligelmo, who was employed on this façade 
 in the twelfth century, and to whose praise the following distich 
 was composed:— 
 
 Inter sculptores quanto sis digntis honore 
 Clarté sculptura nunc Viligelme tun ! 
 
 and is engraved under the figures of Enoch and Elijah. 
 (Vedriani, Ranolta de Pittori, Scultori et Architetti Modenesi ; 
 Modena, 1(562, in 8vo, pp. 17 and 18.) 
 
 7. A Sitting Figure, bas-relief on one of the wings of the 
 bronze doors of the small Chapel of St. John the Evangelist, in 
 the Baptistery of St. John Lateran in Rome. It was executed, 
 according to the inscription, in 1195, in the pontificate of 
 Celestin III. 
 
 8. Part of a bas-relief in marble on the architrave of the 
 east door of the Baptistery at Pisa, a work of the twelfth cen¬ 
 tury. (Momma, 1’isa illustrata nelle arti del disegno ; Pisa, 
 1787-1193, 3 vols, in 8vo, vol. ii., pi. ii., p. 39.) It may be pre¬ 
 sumed that the superiority of the Pisans, even at this time of 
 general debasement of art, is to be traced to their intercourse 
 with the East, and their having Greek artists living amongst 
 them. The difference of this bas-relief and the one No. 6 is 
 very striking. 
 
 9. Bas-relief of the twelfth or thirteenth centuries on the 
 Sarcophagus of the Duke Etichon, who reigned in Alsace in the 
 seventh century. (Schopflinus, Alsatia illustrata ; Colmariæ, 
 1751, in foL, vol. i., pi. i., No. 2, p. 763.) 
 
 10. Another work of Sculpture of the same period, in the 
 Church of the Abbey Hohenburg. At the feet of the Virgin 
 are Relinda and Herrat, who were abbesses of this convent in 
 the eleventh century. (Ibid, vol. i., pi. ii., No. 3, p. 765.) 
 
 11. Bas-reliefs in the Baptistery of Chiavenna, in the Grisons, 
 bearing the date 1156. (Dissertazione del Padre Allegranza, 
 &c. ; Venezia, 1765, in 8vo.) 
 
 12. Statue of Agnes of Baudemont, the Lady of Braine, third 
 wife of Robert of France, Count of Dreux, son of Louis le Gros, 
 on her monument in the middle of the Choir of St. Yved, in 
 Braine. This princess lived at the end of the twelfth and 
 beginning of the thirteenth centuries. (Montfaucon, Monumens 
 de la Monarchie Française, vol. ii., pi. xii., No. 6, p. 71.) 
 
 13. Front of an Altar, in chased silver; a gift of Pope 
 Celestin IL, in about the year 1144, to the Cathedral of Cittadi 
 Castello, in Umbria. The subjects in the four comer panels 
 are the Birth of Christ, the Adoration of the Magi, the Entrance 
 into Jerusalem, the Crucifixion, and other incidents in the life of 
 our Saviour, who is sitting enthroned in the centre panel, with 
 the attributes of the four Evangelists in the comers. 
 
J'r/t/z. 
 
 
 ■ zi/zWzzzZz. zzz /(•<////’ .<////** /uv/rz d-/Éz t/zttS/z r/z ■ /aZ>zz< 
 
 ZZ/ZYZ <•/ .■'lzz/z/zr. <?ecoZ> JT/Æ 
 
PLATE XXII. 
 
 BAS-RELIEFS IN WOOD ON THE DOOR OF THE CHURCH OF S" SABINA IN ROME. 
 THIRTEENTH CENTURY. 
 
 1. Drawing of the principal door of the Church of 
 S'“- Sabina on the Aventine Hill in Rome. Thirteenth century. 
 
 2. The panels of the upper part of this door, each with a 
 bas-relief, carved in wood, of subjects from the Old and New 
 Testaments. Those which are marked with the letters C, A, 
 B, D, are drawn at large under the numbers 5, 6, 7, 8, in the 
 same plate. 
 
 3. Details of the enriched mouldings of the panels, and of 
 the vine branches carved on the styles. 
 
 4. Part of the ancient architrave and cornice of this door in 
 marble. 
 
 5. Drawing at large of one of the figures in panel A, 
 No. 2. 
 
 6. Another figure from the same panel, marked B, No. 2. 
 
 7. Drawing of the panel with its bas-reliefs, marked C, 
 No. 2. 
 
 8. Drawing of the panel marked D, No. 2. 
 
PLATE XXIII. 
 
 TABERNACLE OF THE CHURCH OF ST. PAUL OUTSIDE THE WALLS OF ROME. 
 THIRTEENTH CENTURY. 
 
 Another inscription, in the middle of the same gable, gives 
 the name of the donor of tins Tabernacle, and the date of its 
 completion, 1285. 
 
 ANNO MILENO CENTUM BIS ET OCTUAGENO 
 
 QUINTO, SUMME DEUS, TIBI HIC ABBAS BARTHOLOMÆUS 
 
 FECIT OPUS FIERI, SIBI TU DIGNARE MERERI. 
 
 2 and 3. Figures of Adam and Eve, in the spandrils of the 
 arch, opposite to that shown in this plate. 
 
 4 and 5. Figures of Angels in the inner part of the 
 Tabernacle. 
 
 A notice of this Tabernacle is given in the description of 
 pi. xiii. of the Architectural section of this work. 
 


PLATE XXIV. 
 
 MAUSOLEUM OF CARDINAL GONSALVO, BISHOP OF ALBANO, IN THE CHURCH OF S rA - MARIA MAGGIORE 
 IN ROME. THIRTEENTH CENTURY. 
 
 1. Mausoleum of Cardinal Ci onsalvo, bishop of Albano, in the 
 Church of S u Maria Maggiore; on which is an inscription 
 giving the date of the monument, and the name of the sculptor. 
 
 HIC DEPOSITVS FVIT QVONDAM DOMINVS GVNSALVVS 
 EPISCOPVS ALBANENSIS, ANNO DOMINI 1299. 
 
 HOC OPVS FECIT JOHANNES, MAGISTRI COSMÆ, CIVIS 
 ROMANVS. 
 
 It would be supposed from this that Cosma was the author 
 of this monument, but as he is known to have been only a mason 
 sculptor, all that we can believe to have been his work are the 
 mouldings and ornaments. In all probability this monument, 
 which bears a certain resemblance to the Tabernacle in the 
 Church of St. Paul, and also to the character of the Tuscan 
 
 school of this period, should be attributed to Amolfo-di-Lapo, 
 who, according to Yasari, was employed on works of sculpture 
 in the Church of S ,a - Maria Maggiore. 
 
 2. The upper part of the Mausoleum, with a painting in 
 mosaic, probably executed by order of the Cardinal Gonsalvo, as 
 lie is there represented kneeling at the feet of the Virgin, having 
 on her right St. Matthew, and on her left St. Jerome. On the 
 volumes which they hold are inscriptions relating that their 
 bodies rest in this basilica, that of St. Matthew being in a Sar¬ 
 cophagus of porphyry, which forms the high altar (me tenet ara 
 prior), and that of St. Jerome being under the Manger of Christ, 
 in the centre of the little Chapel of Sixtus V. (recubo 
 præsepis ad antrum). 
 
PLATE XXV. 
 
 CUFIC-AKABIAN CELESTIAL GLOBE IN THE MUSEUM OF CARDINAL BORGIA, AT VELLETRI. 
 
 1. Arabian Celestial Globe, taken from the Museum of 
 Cardinal Borgia, at Velletri, in yellow brass. It measures in 
 diameter 8 inches 3 lines, by 13 inches 6 lines in height, j 
 including the frame and stand, which are of the same metal. 
 
 2. Northern Hemisphere of the above, represented as a flat | 
 surface. (Globus cœlestis cufico-arabicus, Velitemi musei 
 Borgiani, a Simone Assemano illustratus; adjectis duobus 
 epistoliis Josephi Toaldi; Patavii, anno 1790, in 4to fig.) 
 
 3. Figure of the Constellation Bootes, full size, shown at the 
 point A, No. 2. 
 
 4. Constellation of the Swan, from the same hemisphere, 
 where it is marked B. 
 
 5. The Great Bear, marked C in the same hemisphere. 
 
 6. Southern Hemisphere. 
 
 7. 7. Two Arabic Inscriptions, full size, marked D in the 
 southern hemisphere. The one states that this Globe was made 
 by the order of Sultan Alkamel ; the other that it was executed 
 by Caissar ben Abi Alcasem ben Mosafer Alabraki Albanafi, in 
 in the year of the Hegira .622, 1225 of the Christian era. The 
 
 following is the literal translation, as given in the work of 
 Assemani :— 
 
 UPPER INSCRIPTION. 
 
 Jussu et patrocinio Domini nostri solduni régis Alkamel, 
 
 Docti, jnsti, orbis religionisque defensoris, 
 
 Muhammedis ben Abi Bekr ben Ajub, semper invicti. 
 
 LOWER INSCRIPTION. 
 
 Descripsit Caissar ben Abi Alcasem ben Mosafer Alabraki Albanafi, Anno 
 Hegiræ (322, 
 
 Addiditque 10 gradus 46 minuta ad loca (stellarum) in Almagesto signata. 
 
 The outlines of the constellations and the letters in the inscrip¬ 
 tions are drawn with three separate lines ; the two exterior are 
 finer, and are filled in with a black composition, called by the 
 Latins “nigellum,” and the Italians “ niello.” The broad centre 
 line being filled in with red copper or enamel. The stars are 
 small circles in silver. 
 
 This Arabian work was brought from Portugal to Velletri, 
 and a dissertation upon it was written by Professors Toaldo 
 and Assemani, of Padua, and published in 1790. It is consi¬ 
 dered by them to be the most ancient globe known. 
 
PLATE XXVI. 
 
 SELECTION OF VARIOUS WORKS OF SCULPTURE EXECUTED IN ITALY FROM 
 THE FIFTH TO THE THIRTEENTH CENTURY. 
 
 1. The Annunciation. This marble bas-relief, rude in its 
 style, and probably taken from one of the old churches, now 
 forms the door-jaumb of an entrance to a garden, on the Via 
 Appia, near Rome. Fourth or fifth century. 
 
 2. Left side of a Sarcophagus in marble, sixth century, in the 
 Church of S. Appollinare, in Classe, outside the walls of Ravenna. 
 
 3. Front of this Sarcophagus; on it is represented the 
 Redeemer seated, giving his blessing, surrounded by six of the 
 apostles, the other six being carved on the sides. 
 
 4. Right side of this Sarcophagus. 
 
 5. The Annunciation. A bas-relief on the façade of the 
 Church of St. Michael, in Pavia. The façade, plan, and details 
 of this church are all given in the Architectural part of this work, 
 pi. xxiv., No. 7 to 15. 
 
 6. Curious animals, carved in very low relief, on stone. An 
 inscription, giving the date of the erection of the Church of S“- 
 Scolastica, at the Abbey of Subiaco, near Rome, is carved on 
 one of these animals, and is as follows:— 
 
 Æ D I FI CAT I 0 HVJVS ECCLESIÆ CC C C CCC C C L X XX I. 
 
 The plan and a view of this church are given in the Architec¬ 
 tural section, pi. xxxv. 
 
 7. Crown of Agilulph, king of the Lombards, second 
 husband of Theodelinda. This crown, which was executed in 
 the seventh century, was presented by this princess to the Church 
 of St. John the Baptist, at Monza, where it now is. It is of 
 gold, and enriched with precious stones ; around it, in niches, are 
 the twelve apostles, and in the centre one, the Redeemer, accom¬ 
 panied by two angels. The figure of the Redeemer is given at 
 large, No. 11 of this plate. On the lower part of the crown is 
 the following inscription :— 
 
 AGI LVLPHVS GRATIA DEI VIR GLORIOSVS, REX TOTIVS 
 ITALIÆ OFFERET SANCTO JOHANNI BAPTISTÆ IN 
 ECCLESIA MODIOIA. 
 
 (Anton-Francesco Frisi, Memorie storiche di Monza, 3 vols, 
 in 4to. fig. ; Milano, 1794, vol. i., pi. vii., p. 39.) 
 
 8. Marble bas-relief over the great door of the Church of St. 
 John the Baptist, at Monza, near Milan, which was founded by 
 Queen Theodelinda, in the seventh century. The lower part 
 represents the baptism of Christ in the presence of the Virgin, 
 and of the Apostles Peter and Paul ; in the upper part is 
 Theodelinda with her husband Agilulph and their family. (Frisi, 
 Ibid, vol. i., pi. i., p. 9.) 
 
 9. The Iron Crown, used since the time of Agilulph, by the 
 kings of Italy at their coronation. It was presented by Pope 
 Gregory the Great to Queen Theodelinda, who placed it in the 
 Church of St. John the Baptist, in Monza, where it still remains. 
 (Giusto Fontanini, de Coronâ ferreâ ; Romæ, 1717, in 4to. fig. — 
 Muratori, Anecdota litteraria, vol. ii.) 
 
 10. A Cross, with foliated ornament and the symbols of the 
 four evangelists, on the door of the Church of S“- Maria, in 
 Cosmedino, in Rome. It is thought to be of the eighth century, of 
 the time of Adrian I., who held the papal chair from 772 to 795. 
 (Crescimbeni, Storia di S'® Maria in Cosmedino, p. 113.) 
 
 11. Drawing at large of the figure of Christ, in the crown of 
 King Agilulph, seventh century. (Frisi, Memorie di Monza, 
 vol. L, pi. vii., p. 39.) 
 
 12. Ornament, composed of precious stones from the iron 
 crown. See No. 9. 
 
 13. Upper part of the Tabernacle (ciborium) of the high altar 
 of the Basilica of St. Ambrose, Milan. The bas-relief is supposed 
 to be of the ninth century ; it represents Christ giving the keys 
 to St. Peter with one hand, and with the other a book to St. 
 Paul. (Giulini, Memorie della città di Milano, dei secoli bassi ; 
 Milano, 1760, vol. i., p. 187.) 
 
 14. Two of the Paladins of Charlemagne, carved on each 
 side of the great door of the Cathedral of Verona. The one on 
 the left is Roland, bearing the redoubtable Durindarda, on which 
 is engraved his name ; the other on the right is Oliver, armed 
 with a club, in the place of a sword. Twelfth century. (Maf- 
 fei, Verona illustrata; Verona, 1732, in fol., part iii., p. 62.) 
 
 15. Christ between the Apostles Peter and Paul, giving his 
 blessing ; a bas-relief found within the enclosure of the Cathe¬ 
 dral of Verona. Above is inscribed this verse, 
 
 SVM DEVS ET FACTOR CELI TERREQVE CREATOR: 
 
 and beneath is the name of the sculptor Pelegrinus. (Dionigi, 
 Osservazioni sopra un’antica Cristiana scultura, &c., 1768.) 
 
 16. Chased work of the ninth century, on the front of the 
 high altar of the Basilica of St. Ambrose, Milan. It represents 
 St. Ambrose blessing the artist of this work, whose name is 
 given thus:— 
 
 WOLVINVS MAGISTER FABER. 
 
 (Guilini, Ibid, vol. i., p. 179.) The whole of the decoration of 
 this altar is given in pi. xxvi. A, B, C. 
 
 17. Bas-relief on the architrave of the door of the Church 
 of St. Nazarus and St. Celsus, Milan, built in the tenth century. 
 The subjects are from the martyrdoms of these saints. (Ibid, vol. 
 ii., p. 431.) 
 
 18. Part of the bas-relief which adorns the tomb of St. 
 Albertus, prior of Cluni, in the cloister of Pontida, in Milan, 
 where he died. It bears the date 1095. (Ibid, vol. iv., p. 331.) 
 
 19. 20, 21, 22. These four fragments of bas-reliefs are apart 
 of those found at Velletri, in 1784, and are now in the Borgian 
 Museum of that town, with the exception of No. 21, which Cardi¬ 
 nal Borgia presented to Agincourt. They are in terra cotta, and 
 partly coloured, and are very ancient specimens of Volscian art. 
 (Beccheti, Bassi rilievi Volsci in terra cotta, dipinti avarj colon', 
 trovati nella citta di Velletri; Roma, 1785, in fol.) 
 
PLATE XXVI.— (Continued.) 
 
 23. St. Geminian, bishop and patron of tlie city of Modena, 
 on horseback ; a bas-relief of one of the south doors of the 
 Cathedral of Modena, executed by Viligelmus, a celebrated 
 sculptor of the beginning of the twelfth century, one of whose 
 works has been previously given in pi. xxi., No. 6. (Vedriani, 
 Raccolta de’ Pittori, Scultori ed Architetti Modonesi, pp- n 
 and 18.) 
 
 24. Equestrian statue of a Podestà of Milan, on the south 
 façade of the large building in the middle of the Piazza de’ 
 Mercanti, formerly called Broletto nuovo. This building is now 
 used for the public archives of the Notaries. (Guilini, Ibid, vol. 
 vii., p. 469.) 
 
 25, 26, 27. Part of the bas-reliefs formerly over the arch of 
 the Porta Eomana at Milan, and now fixed to the walls of a 
 house not far from the bridge which led to this gate. They 
 represent the return of the inhabitants of tlxis city after their J 
 victory over Frederic Barbarossa. These bas-reliefs are of the 
 end of the twelfth century, and upon them are the names of the 
 sculptor, Girardus de Castegnianega, and of the directors of 
 the building, Anselmus, Guglielmus Burrus and Prevede 
 Marcellinus. (Guilini, Ibid, vol. vii., p. 395.) 
 
 28. Statue of the Virgin and Child, in cedar, formerly in 
 the Cathedral of Puy-en-Velay, in France. There is a 
 tradition that it was brought from the East, by the Bishop of 
 Puy, Aymar de Monteil, towards the end of the eleventh century. 
 (Faujas de St. Fond, Recherches sur les Volcans éteints du 
 Vivarais et du Velay; Paris, 1778, in fol., pl. xx., p. 417 and 
 following.) 
 
 29. The Virgin and Cliild with two Angels, a kind of 
 painted sculpture or painting in relief, in the little Church of ; 
 St. Anzano at Castel-Vecchio. The Padre della Valle consi- I 
 ders this curious work to be one of the oldest specimens of 
 Sienese art, and that its date is probably earlier than the twelfth I 
 century. (LettereSanesi,vol. i.,p. 208.,and vol.ii.,pp. 14and 15.) ! 
 
 30. Figure of a dog or wolf wrapped in a monk's cowl, and 
 holding a book. Thirteenth century It is taken from a work 
 by Dionigi, entitled Osservazioni sopra un’ antica Cristiana scul- 
 tura, &c., 1768. There are similar caricatures shown in the 
 Architectural section, pl. xxxiii., No. 5. It was against such 
 absurdities as these, that St. Bernard declaimed in the following 
 terms: — 
 
 Quid facit ilia ridicula monstruositas ?... Quid immundæ simiœ ? 
 
 In quadrupède cauda serpentis.Sub uno capite, multa corpora, &c. 
 
 31. Base of a marble column, in the Church of St. Paul 
 outside the walls of Rome, upon which the Easter candle is 
 placed. At the four comers are female figures embracing 
 animals with human heads, and those of lions and rams. The 
 shaft is divided by foliage and bas-reliefs of the passion,crucifixion, 
 and resurrection of Christ. On it are the names of the Monk 
 Otho, who designed this curious work, and of Nicola di Angelo 
 and of Pietro Passaletti, who executed it in the twelfth century. 
 (Ciampini, Vetera Monimenta, vol. i., pl. xiv., p. 24.) 
 
 32. Bas-relief in wood, either of the twelfth or thirteenth 
 century, in the church of the Madonna di Vultuvilla, now la 
 Mentorella, near Poli and Subiaco, in the papal territory. It 
 
 represents the consecration of this church by Pope Silvester. 
 (Historia Eustachio-Mariana ; Romæ, 1665, p. 121.) 
 
 33. Bas-relief in marble, from an ambo in the Church of 
 St. John the Baptist, Monza. It represents the coronation of a 
 king of Italy, by the Archbishop of this Basilica, in the presence 
 of the six electors, ecclesiastics, and secular priests, and the 
 deputies of the commune of Monza. This dates at the end of 
 the thirteenth century. (Frisi, Memorie di Monza, vol. i., 
 pl. x., p. 173.) 
 
 34. A lion on the top of a .column in Padua. It has on its 
 head a priest s cap, and underneath are inscribed the name of 
 the artist, and the year of its execution :— 
 
 MAGISTER DANIEL FECIT 1209. 
 
 35. Heads of two lions, forming part of the decoration of 
 the Fountain Branda at Sienna ; twelfth or thirteenth century. 
 
 36. The attributes of the Evangelists St. John and St. Mark 
 on a pulpit ; sculpture of the twelfth century, in the little Chiurch 
 of S. Sepolcro, attached to S. Stefano at Bologna. A plan and 
 section of this church may be seen in pl. xxviii., Nos. 3 and 9, 
 of the Architectural section of this work. 
 
 37. Figures of three soldiers, a bas-relief from the same place. 
 
 38. Marble statue, erected in 1268 by the inhabitants of 
 Modena in honour of one of their towns-women, whose virtues 
 gained for her the name of la Buonissima. 
 
 In this plate are united a number of monuments of the 
 different centuries, from the fourth to the thirteenth, forming a 
 a general coup-d’-œil of the state of art during that period ; and 
 without entering into a detailed examination of each, the 
 attention of the reader may be called to some few of these 
 monuments, remarkable from their destination or their peculiar 
 character and details. 
 
 In the bas-reliefs Nos. 1 and 5, representing the Annunciation, 
 the action is supposed to pass in the presence of a woman, who 
 appears in the back-groimd ; and in the other, in presence of a 
 child, which it is still more extraordinary to find in this mystic 
 scene. The Sarcophagus 2, 3, and 4, attests the interest that 
 Theodoric, king of the Ostrogoths, took in the arts. The 
 ridiculous ornaments of the façade of the Church of St. Michael 
 at Pavia (pl. xxiv., Architectural section), as also the bas-relief, 
 No. 8, on the principal door of the Church of St. John the 
 Baptist at Monza, attest the deplorable state of sculpture under 
 the kings of the Lombards at the end of the sixth and during the 
 seventh centuries. The bas-reliefs, No. 13, 15, and 16, serve as 
 ornaments to a tabernacle and altar at Milan and at Verona. They 
 give the usual subjects on which sculpture and chasing were 
 employed duiing the ninth and tenth centimes, and exhibit the 
 miserable execution of the works of art at that period, even in the 
 principal towns and churches. These bas-reliefs are also useful 
 to history, as they give the names of the artists Pelegrinus and 
 Wolvinus ; the latter appears to have been held in great estima¬ 
 tion, as he has here represented himself crowned by St. Ambrose. 
 
 It is therefore astonishing that with all this encouragement the 
 arts should have been cultivated with so little success. Their 
 
PLATE XXVI.— (Continued.) 
 
 productions were still more deplorable during the tenth century; 
 and during the eleventh, and even up to the end of the twelfth 
 they indicated the lowest degree of grossness and ignorance. 
 
 Nos. 25, 26, and 27, belong to the latter part of this century. 
 The art is so degraded that we scarcely recognise the human 
 form and bearing in these low, thick figures of the soldiers, some 
 of whom have their heads as big as their bodies ; and these bas- 
 reliefs were made to decorate one of the principal gates of the 
 city of Milan, and the work of a sculptor named Girardus de 
 Castegnianega, probably selected from the best sculptors of 
 his time, and who did not hesitate to compare himself with 
 Dædalus. 
 
 Nos. 18 and 23 serve to prove that they were as incapable of 
 representing animals as the human figure ; the same absence of 
 the principles of drawing, and expression. On No. 18, a man 
 on a horse holding a balance, the scales are equal to half a 
 figure, and not the slightest trace of any attempt at imitation 
 of forms or expression of movement appears in either the man 
 or horse. 
 
 How much nearer nature are the men and horses of Nos. 19, 
 20, 21, and 22, fragments of ancient bas-reliefs in terra cotta! 
 These monuments of the highest antiquity are placed here 
 amongst the works of sculpture arrived at its last degree of 
 degradation, the better to exhibit a comparison of art in its 
 infancy and in its decrepitude. These bas-reliefs exhibit the art 
 in its primitive state, and at its first stage of invention, the 
 forms being still undecided, and the articulations undefined ; 
 but the pose is true, the movement spiritedly indicated, the 
 
 men and horses obey their several functions with the truth of 
 nature. 
 
 The statue of the Virgin, No. 28, a celebrated relic from the 
 Cathedral of Puy-en-Velay, is of the same kind as most of the 
 other statues of the Virgin worshipped hi Italy, and above 
 all in Rome, which are said to be painted by St Luke. The 
 Madonna, No. 9, presents also in its material composition 
 some singularities, which place it amongst the remarkable 
 productions of art during these centuries of ignorance. 
 
 These curious reliefs appear to have been obtained in the fol¬ 
 lowing manner :—The panel was first covered with a paste formed 
 of flour and cotton, or similar material, pounded together, and 
 the whole covered with a painted cloth and prepared in a mould, 
 —from which resulted this singular work—half painting, half 
 sculpture. 
 
 In sculpture, as in painting, the first dawn of the revival of 
 art appeared in the thirteenth century, more or less marked in 
 the different parts of Italy. In pi. xxiii. and xxiv. aie proofs of 
 this, in the works executed in Rome for the decoration of the 
 churches and mausoleums. In pi. xxvi., No. 24, we have a further 
 proof in the equestrian statue of a Podesta of Milan, placed in 
 1223 on the façade of the public palace of that town. The 
 bas-relief, No. 33, of the same century, foimd at Monza, in 
 its general arrangement exhibits an amelioration in art; and 
 lastly, No. 38, a statue erected at Modena in 1268, in honour 
 of one of its citizens, called la Buonissima, notwithstanding many 
 defects, possesses in the attitude and draperies the simplicity 
 and expression appropriate to the subject. 
 
 Scm.PTum: H 
 
FRONT VIEW OF THE DECORATION OF AN ALTAR, WHICH THE ARCHBISHOP ANGILBERT, OF MILAN, PRESENTED 
 TO THE HIGH ALTAR OF THE BASILICA OF ST. AMBROSE, ABOUT THE YEAR DCCCXXXV. 
 
 SUBJECTS OF THE PANELS. 
 
 12. The Ascension. 
 
 13. The Redeemer; a sitting figure with the Cross in his 
 right hand, and leaning his left hand on the Books of the 
 Evangelists. 
 
 14. 15, 16, 17. Symbols of the Four Evangelists. 
 
 18, 19, 20, 21. The Twelve Apostles. 
 
 The subjects of the panels, Nos. 10, 11, 12, are of modem 
 execution, in the place of the old ones, which have been long 
 since destroyed. 
 
 The whole of the front of this altar is inlaid with gold and 
 precious stones. 
 
S.u/â. 
 
 
 ■/Y' Str/r/WA .■<Ï?/Y,,/A> t/f’/Y, fYArs ' 
 
 i ■ 
 
PLATE XXVI. B. 
 
 OF THE BASILICA OF ST. AMBROSE, MILAN. 
 
 THE TWO SIDES OF THE ALTAR 
 
 THE EPISTLE SIDE. 
 
 1. Bust of St. Ambrose, with the inscription abr. 
 
 2. Bust of St. Protosius, with the inscription pro. 
 
 3. Bust of St. Gervasius, with the inscription gTr. 
 
 4. Bust of St. Simplicianus, with the inscription sipl. 
 
 THE GOSPEL SIDE. 
 
 5. Bust of St. Martin, with the inscription mart. 
 
 6. Bust of St. Nabor, with the inscription n a b o. 
 
 7. Bust of St. Nazarus, with the inscription naza. 
 
 8. Bust of St. Matemus, with the inscription m a n v. 
 
 In each of the eight spandrils of the two sides represented 
 in this plate is an angel in a different position, and holding in 
 the hand ampulli of very peculiar form. In the panels formed 
 by the arms of the crosses are eight figures of saints, each in an 
 attitude of prayer. These two sides of the altar are silver 
 partly gilt, and inlaid with precious stones. 
 
PLATE XXVI. C. 
 
 BACK OF THE ALTAR OF THE BASILICA OF ST. AMBROSE, MILAN. 
 SUBJECTS FROM THE LIFE OF ST. AMBROSE. 
 
 1. St. Ambrose as a child, fed with honey by bees; under¬ 
 neath is the following inscription :— 
 
 VBI EXAMEN APVM PVERI OS COMPLEVIT AMBROSII. 
 
 2. St. Ambrose travelling to Ligorio :— 
 
 VBI AMBROSIVS EMILIAM PETIT AC LIGVRIAM. 
 
 3. St. Ambrose, filled with the Holy Ghost, returns back 
 to Milan:— 
 
 VBI FVGIENS SPIRITV SANCTO FLANTE R EVERTITVR. 
 
 4. St. Ambrose baptized by a Catholic Bishop :— 
 
 VBI A CATHOLICO BAPTIZATUR EPISCOPO. 
 
 5. After eight days St. Ambrose is consecrated as a Bishop:— 
 
 VBI OCTAVO DIE ORDINATVR EPISCOPVS. 
 
 6. During the sleep of St. Ambrose at the altar he is carried 
 to Tours:— 
 
 VBI SVPER ALTARE DORMIENS TVRONIAM PETIT. 
 
 7. St. Ambrose buries the body of St Martin :— 
 
 VBI SEPELI VIT COR P VS BEATI MARTINI. 
 
 8. St. Ambrose preaches, prompted by an angel :— 
 
 VBI PRÆDICAT ANGELO LOQUENTO AMBROSIVS. 
 
 9. St. Ambrose healing a lame man :— 
 
 VBI PEDEM AMBROSIVS CALCAT DOLENTI. 
 
 10. Jesus Christ appears to St. Ambrose:— 
 
 VBI JESVM AD SE VIDET VENIENTEM. 
 
 11. The Bishop Honoratus gives St. Ambrose the Viaticum : 
 
 VBI AMMONITVS HONORATVS EPISCOPVS DOM INI OFFERT CORPVS . 
 
 12. The body of St. Ambrose stretched in his bed, his soul 
 fleeing to heaven :— 
 
 VBI ANIMA IN CELVM DVCITVR CORPORE IN LECTO POSITO. 
 
 13. The Archangel Michael : s~cs. Michael. 
 
 14. The Archangel Gabriel: scs.gabri. 
 
 15. The Archbishop Angilbert, in an attitude of humility, pre¬ 
 senting the model of the altar to St. Ambrose, who is placing 
 a crown on the head of the Archbishop. The two names are 
 inscribed ses. AMBROsivs andDOMiNvs angilbertvs. 
 
 16. St. Ambrose crowning, or perhaps blessing, Wolvinus, 
 who executed this altar. The two names are inscribed— 
 SCS. AMBROSIVS and WOLVINI* MAOIST PHABER. T his ling 
 already been given in pi. xxvi., No. 16. 
 
 This side of the altar is enriched with silver, silver-gilt, and 
 precious stones. 
 
 On this plate there are inscriptions placed perpendicularly 
 and horizontally, forming the ten following lines, which are so 
 composed as that the last letter of each line serves as the first of 
 the next, and sometimes of the one after that :— 
 
 EMICAT ALMA FORIS, RVTILOQVE DECORE VENVSTA 
 ARCA METALLORVM, GEMMISQVAE COMPTA, CORVSCAT. 
 THESAVRO TAMEN HÆC CVNCTO POTIORE METALLO 
 OSSIBVS, INTERIVS POLLET DONATA SACRATIS. 
 
 EGREGIVS QVOD PRAESUL OPVS SVB HONORE BEATI 
 INCLITVS AMBROSII TEMPLO RECVBANTIS IN ISTO 
 OPTVLIT ANGILBERTVS ORANS, DOMINOQVE DICAVIT 
 TEMPORE, QVO NITIDAE SERVABAT CVLMINA SEDIS. 
 
 ASPICE SVMME PATER, FAMVLO MISERERE BENIGNO, 
 
 TE MISERANTE DEVS DONUM SVBLIME REPORTET. 
 
SECOND PART. 
 
 REVIVAL OF SCULPTURE 
 
 IN THE THIRTEENTH CENTURY. 
 
 PLATE XXVII. 
 
 STATUES, BAS-RELIEFS, AND MEDALS, OF THE TWELFTH. THIRTEENTH, AND FOURTEENTH CENTURIES. 
 
 1. The Adoration of the Magi; bas-relief of the end of the 
 twelfth century, over the great door of the Church of St. 
 Andrew, at Pistoja, the plan of which is given in the Archi¬ 
 tectural section, pi. xxv., No. 41. On the upper part are thes* 
 verses :— 
 
 VENIVNT ECCE MAGI SIDVS REGALE SECVTI 
 FALLERIS HERODES QVOD CHRISTVM PRENDERE VOLES 
 MELCHIOR CASPAR BALTHAZAR 
 MAGOS STELLA MONET PUERO TRIA MONERO PONE. 
 
 The names of the sculptors of this bas-relief are inscribed 
 under it :— 
 
 FECIT HOC OPVS GRVAMONS MAGISTER BONVS ET ADEODATVS 
 FRATER EJVS; 
 
 and underneath is this other inscription, for which there was 
 not room in the plate :— 
 
 TVNC ERANT OPERARII VILLANVS ET BATHVS FILIVS TIGNOSI 
 ANNO DOMINI MCLXVI. 
 
 (Momma, Pisa illustrata, vol. ii., p. 42. Vasari, Vite de’ 
 Pittori; Livomos, vol. i., p. 245.) 
 
 2. One of the bas-reliefs of the tomb of Guido Tarlati 
 de Pietramala, bishop and lord of Arezzo, fourteenth century, 
 in the cathedral of that place. This prelate is represented as 
 
 in the Church of St. Ambrose of Milan, crowning the Emperor 
 Louis of Bavaria and the Empress his wife, surrounded by 
 ecclesiastics, and the principal persons of the court. On the 
 upper part of the bas-relief is the date and the name of the 
 sculptor of the work:— 
 
 HOC OPVS FECIT MAGISTER AVGVSTINVS ET MAGISTER ANGELVS DE 
 I SENIS MCCCXXX. 
 
 These are the sculptors Agostino and Angelo of Siena, the 
 best pupils of Giovanni and Nicola of Pisa. (Vasari, Vite de’ 
 Pittori; Roma, vol. i., p. 61. Guglielmo della Valle, Lettere 
 Sanesi, vol. ii., pp. 170-175.) 
 
 3. Statue of a bishop, from the same monument. 
 
 4. Colossal Statue of the Emperor Frederick II., near the 
 Porta Romana, at Capua. This statue was originally in the Castle 
 delle Torri, one of the fortresses built in Capua from the designs 
 of the Emperor himself. He was one of those who most 
 contributed to the restoration of art in the thirteenth century. 
 (Camillo Pelegrino, Apparato aile Antiquità di Capua; Napoli, 
 1771, in 4to, vol. i., p. 22. Lettere Sanesi, vol. i., p. 200.) 
 
 5. Gold Coins called Augustali, struck in the reign of 
 Frederick II. They are in the valuable collection of Don 
 Francesco Carelli at Naples. 
 
 Sculpture 1 
 
PLATE XXVIII. 
 
 MAUSOLEUM OF THE FAMILY OF SAVELLI, ONE OF THE MOST ANCIENT AND ILLUSTRIOUS ROMAN FAMILIES 
 OF THE MIDDLE AGES, IN THE CHURCH OF S"- MARIA IN ARA-CELI. 
 
 THIRTEENTH AND FOURTEENTH CENTURIES. 
 
 1. Mausoleum of the family of the Savelli; it is in marble 
 and ornamented with mosaics. On the base is tills in¬ 
 scription :— 
 
 ANTONIO SAV1ELLO = HIC JACET DOMINVS LVCAS DE SABELLO PATER 
 DOMINI PAPÆ HONORII DOMINI JOHANNIS ET DOMINI PANDVLPHI QVI 
 OBIIT DVM ESSET SENATOR VRBIS ANNO DOMINI MCCLXVI CVJVS ANIMA 
 REQVIESCAT IN PACE AMEN = HIC JACET NOBILISSIMA DOMINA DOMINA 
 MABILIA VXOR AGAPITI DE COLUMNA. 
 
 A little above this is 
 
 HIC JACET DOMINVS PANDVLPHVS DE SABELLO ET DOMINA ANDREA 
 FILIA EJ VS QVI OBIERVNT ANNO DOMINI MCCVI IN VIGILIA BEATI L...= 
 WCA SAVIELLO. 
 
 (Casimiro, Memorie istoriche della chiesa e convento di S“‘ 
 Maria in Ara-celi; Roma, 1736, p. 111.) 
 
 2. Antique Sarcophagus representing a bacchanal, used as 
 the base of the monument, and contrasting curiously with it. 
 
PLATE XXIX. 
 
 WORKS OF SCULPTURE EXECUTED OUT OF ITALY FROM THE COMMENCEMENT OF THE DECLINE 
 TO THE FOURTEENTH CENTURY. 
 
 1. Part of a very ancient statue, in wood, considered to represent 
 Thor, the ancient god of the northern people : it is now in the Chapel of 
 the Cathedral of Upsala, in Sweden. (Monumenta Uplandica, 2 vols, 
 in fol.; Stokholmiæ, 1710, 1719, vol. ii., p. 290. Suecia antiqua et 
 hodierna, p. 61.) 
 
 2. Sepulchral monument of the Grinon, with a runic inscription, the 
 translation of which into Latin is :— 
 
 Inbiurus curavit saxum erigi in memoriam patris sui Grinonis, qui 
 occisus cum Emundo. Deus juvet animam ejus. Grino ille, quiprcclio 
 vicit Huddingum. (Monumenta Uplandica, part i., p. 251.) 
 
 3. Tombstone of the Gailfon, with the following inscription, which 
 also gives the names of the stone-masons :— 
 
 Alo et Sigvaldus et Ingifastus fecerunt pingi liunc lapidem in memo¬ 
 riam Gailfonis mariti Oggifastæ, omniumque illorum patris. Asmundus 
 sculpsit. (Ibid, part i., p. 225, 226.) 
 
 4. A stone to the memory of the Yifast : with a runic inscription, 
 which translated into Latin is:— 
 
 Elephus et Sigvidus curarunt cippum erigi in memoriam Vifasti 
 patris sui. (Ibid, part i., p. 209.) 
 
 The runic characters, which are only found in very ancient inscriptions, 
 were used during many centuries by the people of the North in their 
 monumental inscriptions. 
 
 5. Curious figures, over the door of an old building at Montmorillon, 
 a small town in Poitou. (Montfaucon, Supplément à l’Antiquité Expli¬ 
 quée, vol. ii., pl. lix., p. 222. Martin, De la religion des Gaulais ; Paris, 
 1727, in 4to., vol. i., pl. iii-, p. 142, and pl. vii., p. 219.) 
 
 6. St. Peter, one of the statues which decorate the side porch of the 
 Cathedral of Notre Dame, Paris. (Montfaucon, Monumens de la 
 Monarchie Française, vol. i., pl. viii., p. 55, 56.) 
 
 7. Statue of Clovis, king of France, formerly on the great porch of 
 the Church of St. Germain-des-prés, Paris. He is holding the consular 
 staff with the eagle on the top, in the manner of the Roman consuls. 
 Sixth or seventh century. (Ibid, vol. i., pl. vii., p. 52.) 
 
 8. Queen Clotilda, wife of Clovis ; on the same porch, by the side of 
 the statue of Clovis. (Ibid, vol. i., pl. vii., p. 53.) 
 
 9. King Childebert, from the same porch of the Church St. Germain- 
 des-prés. Sixth or seventh century. He was the founder of this church. 
 
 10. The Last Supper, bas-relief on the door of the porch of the same 
 church. Eleventh century. (Ibid, vol. i., pL vii.) 
 
 11. Queen Ultrogoth, wife of Childebert, statue from the same porch, 
 by the side of Childebert. Sixth century. (Ibid, vol. i., pl. vii., p. 55.) 
 
 12. Dagobert I. sitting, the crown in his hand, and robed in the 
 royal mantle, statue at the left of the grand porch of the Church 
 of St. Denis. Seventh century. (Ibid, vol. i., pl. xii., p. 162.) 
 
 13. Another statue of Dagobert on the grand porch of the Church of 
 St. Denis, Paris. (Ibid, vol. i., pl. xvii., p. 194.) 
 
 14. Statue of one of the Queens of France on the same porch. 
 Eighth or ninth century. (Ibid, vol. i., pl. xvii., p. 193.) 
 
 15. A two-headed serpent on a silver plate, found in the Sarcophagus 
 supposed to be that of King Childeric, at the time that the new stalls were 
 erected in the choir of the Church of St. Germain-des-prés, in 1656. 
 Seventh century. (Ibid, vol. i., p. 174.) 
 
 16. Bas-relief over the great door of the Church of S"- Marie de 
 Nesle, in the diocese of Troyes. Eighth century. (Ibid, vol. i., pl. xv., 
 p. 192.) 
 
 17. A cross on the tomb of St. Germain, in the Church of St. Ger¬ 
 main-des-prés, Paris. An inscription is engraved round the stone relative 
 to the gift of the land of Palaiseau executed at St. Germain by King 
 Pepin. Eight century. (Bouillart, Histoire de l’Abbaye de St. Germain- 
 des-prés; Paris, 1724, in fol., pl. xv., p. 285.) 
 
 18. Statue of Queen Pedauque (with the feet of a goose) on the 
 porch of the Church of S ,c- Marie de Nesle ; it. is generally thought that 
 the statue of this queen, with the feet of a goose, which is seen in many 
 of the churches of this period, represents Queen Clotilda, wife of Clovis. 
 Eight century. (Montfaucon, Monumens de la Monarchie Française, 
 vol. i., pl. xv., p. 192.) 
 
 19. Statue of a bishop, on the porch of the same church. Eighth 
 century. (Ibid, vol. i., pl. xv., p. 192.) 
 
 20. Bas-relief on a stone at Mount S. Odilien, in Alsace : it represents 
 Etichon, duke of Alsace, presenting a book to his daughter St. Odilia, 
 on her investiture as abbess of Hohenburg. There is inscribed on it : — 
 
 ETICHO DVX SANCTA ODILIA; 
 
 on the side is the profile of the figure of St. Leudgar, bishop of Autun, 
 father of this duke. Seventh or eighth centuries. (Schœpflinus, 
 Alsatia illustrata, vol. i., pl. ii., p. 763. Montfaucon, Ibid, vol. i., pl. xxxi., 
 p. 347.) 
 
 21. Hilt and guard of a sword, supposed to have belonged to 
 Charlemagne, preserved in the Abbey of St. Denis. (Ibid, vol. i., 
 pl. xxiv., p. 277.) 
 
 22. Bas-relief on the tomb of Archbishop Hincmar in the Church of 
 St. Remi, at Rheims. In the centre is Charles the Bald, holding in his hand 
 the model of the Church of St. Remi, of which he was the benefactor. 
 At his feet is the archbishop kneeling. Ninth century. (Ibid, vol. i., 
 pl. xxviii., p. 305.) 
 
 23. Crown of Charlemagne, taken from one of his seals, which 
 belonged to Mgr. Blanchini, a Roman prelate. (Ibid, vol. i., pl. xxi., 
 p. 274.) 
 
 24. Statue of King Childebert, in the choir of St. Germain-des- 
 prés, restored in the 11th century. In one hand he holds the sceptre, 
 and in the other the model of this church, the foundation of which he 
 laid in the year 543. (Ibid, vol. i., pl. xi., p. 58.) 
 
 25. Elias, count of Maine, in complete armour, as sculptured on his 
 tomb in the Church of Notre Dame de la Couture, in the town of Mans. 
 This count died in the year 1109. (Ibid, vol. i., pl. xxxii., p. 349.) 
 
 26. Statue of Siegbert I., king of Metz and Austrasia, in the crypt 
 of the Church of St. Medard, Soissons. (Ibid, vol. i., pl. xii., p. 159.) 
 
 27. Sitting Statue of Louis IV., surnamed d’Outremer, king of 
 France towards the end of the tenth century. It is in the Church of 
 St. Remi at Rheims, near his tomb on the right of the high altar. (Ibid, 
 vol. i., pl. xxx., p. 346.) 
 
 28. Chalice, from the Abbey of Weingarten in Swabia, decorated 
 with busts, figures, and medallions. On the upper part are the figures 
 of the four Evangelists, alternately with four medallions, containing 
 subjects from the New Testament. Underneath are busts of saints, and 
 on the foot of the Chalice are four other medallions, with subjects from 
 the Old Testament, which are typical of those from the New Testa¬ 
 ment—as, for instance, the Deluge, represented by Noah in the Ark, 
 significant of the waters of baptism, in the medallion above. Between 
 these medallions, of an oval shape, are sitting figures of the four rivers 
 which flowed through Paradise ; the one in front, as given in the plate, 
 is intended, according to the inscription underneath, for the Tigris. 
 Around the foot is the following inscription, giving the name of the 
 goldsmith who executed it, probably in the tenth century :— 
 
 MAGISTER CVONRADVS DE HVSE ARGENTARIVS ME FECIT. 
 (Martinus Gerbertus, Vetus Liturgia Alemannica, typis san Blasianis, 
 1776, vol. ii., in 4to., vol. i., pl. iii., p. 219.) 
 
 29. Sitting Statue of King Lothaire, near the high altar of the 
 Church of St. Remi, Rheims. (Ibid, vol. i., pl. xxx., p. 346.) 
 
 30. King Chilperic on his tomb in the Church St. Germain-des-prés, 
 Paris, tenth century. Around is inscribed :— 
 
 îRcjr Cljilpccicuÿ Ijot tegitue lapibc. 
 
PLATE XXIX.— (Continued.) 
 
 This inscription, and its being in the Gothic character, make it probable 
 that this monument was restored in the time of the Abbé Morard, viz., 
 the beginning of the eleventh century, or even later. (Ibid, vol. i., 
 pi. xii., p. 160.) 
 
 31. Statue of a Knight in Armour, on a tomb in the Church of the 
 Abbey Bonneval in Beausse. The knight is in complete armour; but 
 his shield being without arms, induces the supposition that he lived at 
 the time of one of the Capet kings, at which period no armorial bearings 
 were used. (Ibid, vol. i., pi. xxxiv., p. 370.) 
 
 32. Figure of the Emperor Charles the Bald; an alto relievo in 
 copper on his tomb in the Abbey Church of St. Denis, near Paris. 
 (Ibid, voL i., pi. xxviii., p. 306.) 
 
 33. Equestrian figure of the Emperor Rudolph of Ilabsburg, Land- 
 graf of Upper Alsace, carved on the façade of the Cathedral Church of 
 Strasbourg, towards the end of the thirteenth century, about 1291. In 
 an iron band, or circle over his head, are the words 
 
 lRiiboïplju£f îjc reir Bomanorum 
 
 in bronze, and written in Gothic characters. It appears by this that the 
 sculptors were beginning at that time to attempt works of importance. 
 (Schcepflinus, Alsatia illustrata, vol. ii., pp. 513, 14, 31, 34.) 
 
 34. Bas-reliefs of the time of St. Louis, on a sepulchral monument, 
 erected to the memory of King Dagobert, in the Church of St. Denis, 
 in one of which are devils carrying the soul of this prince to hell ; in 
 another the bishops are coming to his assistance ; and in the third they 
 are helping him to rise to heaven. (Montfaucon, Monumens de la 
 Monarcliie Française, vol. i., pi. xiii., p. 164.) The two small pyramids 
 which are given under this number decorate the corners of the upper 
 part of this monument. 
 
 35. Equestrian Statue of Philip le Bel, formerly in the Cathedral of 
 Notre Dame, Paris, in front of the Chapel of the Virgin. He and the 
 horse are in full armour, and represent him as he appeared on horse- j 
 back in this church, to celebrate a Te Denm, after his signal victory 
 
 over the Flemings, which took place at Mons-en-Puelle, on the 18th of 
 August, 1304. The statue and horse are of painted wood; the helmet 
 of the king and the armour of the horse are blue, emblazoned with gold 
 lilies. The remarkable event which was the cause of the monument, and 
 the extraordinary fact which it records, render it more interesting than 
 it would be as a work of art. (Ibid, vol. ii., pi. xlix., p. 286.) 
 
 36. The bas-reliefs under this number are subjects from the history 
 of Erich, king of Sweden ; twelfth or thirteenth century. (Monumenta 
 
 | Uplandica, part ii., pp. 48—51.) 
 
 37. Sepulchral monument, of the fourteenth century, to the memory 
 of Byrger and his wife, the parents of St. Brigida. (Ibid, part ii., p. 88.) 
 
 38. Three bas-reliefs in ivory, of the fourteenth century; the subjects 
 are supposed to be taken from a French romance of the time. (Mémoire 
 de l’Académie des inscriptions et belles lettres, vol. xviii., p. 322. Gori, 
 Thesaurus veterum dyptichorum, vol. iii., part ii., p. 64.) 
 
 39. Under this number are four bas-reliefs, which are sculptured 
 | on the columns supporting the lantern of the Cathedral of Ely— 
 
 1 this church was rebuilt in 1322. One of the bas-reliefs represents 
 
 the marriage of Ethelreda; another, the miracle of the flowering 
 staff ; the third, Ethelreda receiving the habit of the cloister ; and the 
 fourth, Ethelreda delivering a captive. (The History and Antiquities of 
 the Conventual and Cathedral Church of Ely; Cambridge, 1771, in fol., 
 pi. ix., p. 48 ; pi. x., p. 52 ; pi. xii., p. 58.) 
 
 40. Statue of Joanna, countess of Champagne and queen of Navarre, 
 wife of Philip le Bel ; it was placed over the entrance door of the College 
 of Navarre, at Paris, founded by her. On the ceiling of the church 
 of this College was the figure of this princess, who died at the beginning 
 of the fourteenth century. This Btatuc wns erected in gratitude for her 
 benevolence. (Montfaucon, Monumens de la Monarchie Française, 
 vol. ii., pi. xxxvii., p. 212.) 
 
 41. Tomb of a bishop in the Cathedral of Ely. (The History and 
 ! Antiquities of Ely, pi. xvi., p. 149.) 
 
 PLATE XXX. 
 
 MAUSOLEUM OF ROBERT, KING OF NAPLES, AND OTHER MONUMENTS OF THE HOUSE OF ANJOU. 
 THIRTEENTH AND FOURTEENTH CENTURIES. 
 
 1. Sitting Statue of Charles of France, count of Anjou and Pro¬ 
 vence, brother of St. Louis, and king of Naples, in 1265. This statue, 
 which is now in the senatorial palace of the Capitol, was erected to this 
 prince at the time that Pope Clement IV. conferred upon him the 
 dignity of a Roman senator, to consolidate his authority in Italy. 
 
 2. Silver Coins, struck at Rome in 1265, on the occasion of Charles 
 of Anjou being admitted into the Roman Senate. On one side is a 
 sitting figure of Rome, holding a globe in one hand and a palm branch 
 in the other. The inscription is ROMA CAPVT MVNDI S. P. Q. R. 
 On the reverse is a lion passant surmounted by a lily, emblem of 
 the Guelph party; and this inscription, CAROLVS REX SENATOR VRBIS. 
 (Vergara, Monete del regno di Napoli ; Roma, 1715, pi. ix., No. 4.) 
 
 3. Gold Medal in Agincourt’s collection. On one side is the figure 
 of St Peter, to whom a kneeling figure is offering the banner (vcxillum), 
 the sign of a senator, with these words : SANCTVS PETRVS. On the 
 other side is the figure of the Saviour, with this inscription:— 
 
 ROMA CAPVT MVNDI S. P. Q. R. 
 
 4. Statue of Queen Margaret, or, according to some authors, the 
 Empress Elizabeth, daughter of Otho, duke of Bavaria, and mother of 
 the unfortunate Conrad. She is represented holding the purse with 
 which she hoped to purchase the life of her son, whom she unhappily 
 finds already beheaded. This statue is at Naples, in one of the cloisters 
 of the Carmelite Church, where she had him buried in 1268. This 
 statue is generally considered to be of this period, but the style of the 
 drapery and its general character induces the supposition that it is of a 
 later date. 
 
 5. Part of the Mausoleum of Robert of Anjou, king of Naples, 
 sumamed the Wise. He was grandson of Charles of Anjou, the first of 
 Ids name ; this Mausoleum was erected to his memory in the church of 
 the Convent of S u - Chiara, Naples, which he and his queen, Sancia of 
 Arragon, had founded. This prince, who died in 1340, is here repre¬ 
 sented in two ways : on the lower part he is lying in the dress of a 
 Franciscan monk, and on the upper part he is sitting, enthroned with 
 
PLATE XXX.— (Conti N i JED.) 
 
 the crown and sceptre, and robed in the mantle of state. At his feet is 
 the inscription :— 
 
 CERNITE ROBERTVM REGEM VIRTVTE REFERTVM 
 
 This Mausoleum, in the Gothic style, is the work of Masuccio, the 
 second of his name, a Neapolitan artist of great merit ; he was both 
 sculptor and architect. There is a detailed account of it in a work of 
 Bernardo de' Dominici, entitled Vite de’ Pittori, Scultori ed Architetti 
 Napoletani; Napoli, 1742, 3 vols., in 4to., vol. i., p. 55. 
 
 6. One of the silver coins struck in the reign of King Robert. 
 On the one side is the figure of this prince, sitting on two lions, the 
 crown on his head, the sceptre and globe in his hand. The inscrip¬ 
 tion is:— 
 
 ROBERTVS DEI GRATIA JERVSALEM ET SICILIAE REX 
 
 On the other side is the Cross of France, with lilies, and the in¬ 
 scription :— 
 
 HONOR REGIS JVDICIVM DILIGIT 
 
 (Vergara, Monete di Napoli, pi., xii., p. 40.) 
 
 7. Statue of Charles IL, called the Halt, king of Naples from 
 1285 to 1309; he was the son of Charles I., of the House of Anjou. 
 This statue is in a cloister called Notre Dame de Nazareth, or de St. 
 
 Barthélémy, founded by this prince in Aix in Provence. On the base 
 is the inscription:— 
 
 CAROLVS DEI GRATIA JERVSALEM ET SICILIAE REX COMES 
 PROVINCIAE 
 
 8. Statue of Isabella of France, sister of St. Louis and of Charles of 
 Anjou, the first of his name ; formerly in the choir of the Abbey Long- 
 champ, near Paris, of which this princess was the first abbess and 
 foundress, and where she died in 1269. (Montfaucon, Monumens de la 
 Monarchie Française, vol. ii., pi. xix., p. 121.) 
 
 9. Bas-reliefs on the sepulchral monument of Charles, called the 
 Illustrious, duke of Calabria, and eldest son of King Robert, in the 
 Church of S ,a - Chiara, at Naples. This prince, who died in 1328, aged 
 thirty years, is represented sitting, receiving the homage of the various 
 orders of the state, in the office of viceroy to his father the kino-. 
 
 10. Drawing, at large, of the animals under the feet of the Duke of 
 Calabria, given under the preceding number. They are a wolf and a lamb 
 drinking amicably out of the same trough, an emblem employed by the 
 Sculptor Masuccio, the author of this bas-relief, to show the impartial 
 justice and security which was felt under the peaceful dominion of 
 this prince. (Dominici, Vite de’ Pittori, &c., p. 46. Summonte, Storia 
 della citta di Napoli; Napoli, 1675, vol. ii., p. 391.) 
 
 11. Drawing, at large, of the heads of the Duke of Calabria, and of 
 two persons represented in the bas-relief, under No. 9. 
 
 PLATE XXXI. 
 
 BAS-RELIEFS ON THE TOMB OF QUEEN SANCIA OF ARRAGON, IN THE CHURCH OF SANTA MARIA 
 DELLA CROCE, NAPLES. 
 
 1. Queen Sancia, second wife of King Robert the Wise, 
 sitting on her throne receiving homage from the nuns of the 
 Convent Santa Croce, and from the monks, who, according to 
 the usage of the time, served the church. This convent was 
 founded by this queen and her husband, in 1328. 
 
 FOURTEENTH CENTURY. 
 
 2. Queen Sancia in the dress of a nim, sitting at table with 
 the nuns of the Convent Santa Croce, where she retired after the 
 death of her husband King Robert, and at the end of a month 
 herself died in 1344. 
 
 Sculpture J 
 
THIRD PART. 
 
 RESTORATION OF SCULPTURE FROM THE END OF THE THIRTEENTH 
 TO THE BEGINNING OF THE FOURTEENTH CENTURIES. 
 
 FIRST PERIOD. 
 
 PLATE XXXII. 
 
 WORKS OF NICOLA PISANO AND IIIS SCHOOL. THIRTEENTH AND FOURTEENTH CENTURIES. 
 
 1. Bas-relief on the front of an antique Sarcophagus at Pisa, 
 formerly placed in front of the Cathedral, and since removed to 
 the Campo Santo. Tliis Sarcophagus, in which were placed the 
 remains of the Countess Beatrix, mother of the Countess Matilda, 
 who died at Pisa in 1076, is celebrated in the annals of art as 
 having served as the type for the reviving Sculpture in Italy. 
 It is certainly the most beautiful monument of antique art in 
 Pisa, and formed the principal study of Nicola Pisano, to whom 
 is due the glory of having founded a new School of Sculpture 
 based upon the antique, which was the first step in the revival 
 of art generally. There are various opinions upon the subjects 
 represented in this bas-relief : some authors t h i nk ing, with 
 Vasari, that it represents the chase of the Calydonian boar by 
 Meleager; others, that it is Venus endeavouring to retain Adonis 
 from following in the fatal chase ; and others, whose opinion is 
 better founded, the liistory of Phædra and Ilyppolytus. In the 
 first division of this composition Phædra is sitting, surrounded 
 by Cupids, having through her nurse just made known to the son 
 of Theseus, who is on the point of leaving for the chase, her 
 passion for him. 
 
 In the second division is Hyppolytus on horseback, following 
 the boar at Phibalis in Attica, as related by Seneca (Ilyppolyt., 
 v. 28), a subject represented in a great number of antique bas- 
 reliefs. (Morrona, Pisa illustrata nelle arti del disegno, vol. i., 
 pi. iii., p. 173, 182. Vasari, Vita di Nicola Pisano ; Roma, 
 1759, vol. i., p. 17.) 
 
 2. God blessing Adam, and taking the rib from his side for 
 the Creation of Eve; one of the marble bas-reliefs on the façade 
 of the Cathedral of Orvieto (Guglielmo della Valle, Storia del 
 Duomo di Orvieto ; Roma, 1791, pi. ix.) 
 
 3. God taking Eve from the side of Adam ; bas-relief from 
 the same façade. (Ibid, pi. x.) 
 
 4. The Dead rising from their Tombs; bas-relief of the same 
 façade. (Ibid, pi. xviii.) 
 
 5. Adam and Eve driven out of Paradise ; bas-relief of the 
 same façade. (Ibid, pi. xiv.) 
 
 6. Adam and Eve condemned to Labour ; bas-relief of the 
 same façade. (Ibid, pi. xv.) 
 
 These five bas-reliefs are considered to be amongst the best 
 works of Nicola Pisano, and, according to the expression of 
 Vasari, he in them excelled himself. (Vita di Nicola Pisano, 
 vol. i., p. 22; Roma, 1759.) They are more probably the 
 work of his school, as Vasari gives the date 1225 as the time of 
 their execution, when the Church at Orvieto was not begun 
 till 1290. 
 
 7. The Adoration of the Magi, one of the five bas-rclicf3 
 which decorate the sides of the pulpit of the baptistery of the 
 Cathedral of Pisa. This bas-relief is superior to the others in 
 beauty of arrangement, propriety of action in the figures, and 
 elegance of the draperies; and, perhaps, of all the works of 
 Nicola Pisano, more clearly proves the advantages tliis mas¬ 
 ter obtained from his study of the works of antiquity which 
 were preserved in his city, and the great service he rendered to 
 art in endeavouring to imitate them. (Morrona, Pisa illustrata, 
 vol. i., p. 239, and vol. ii., pi. iii., p. 48.) 
 
 8. Bas-relief on one of the sides of the Sarcophagus of St. 
 Dominic, in the Church of St. Dominic. Bologna, representing 
 
 tliis saint receiving the rules of his order from St. Peter and St. 
 Paul. This bas-relief will give an idea of the style of the whole 
 monument, begun, according to Vasari, by Nicola Pisano, in 
 1225, and completed in 1231. Recent researches, however, prove 
 that it could not have been commenced till the end of the 
 thirteenth century, and was, therefore, not the work of Nicola 
 Pisano himself, but of one of his pupils. (E. Forster, zur 
 neueren Ivunstgeschicte, 1835. Vasari, Vita de’ Pittori, vol. i., 
 p. 18. Monona, Ibid, vol. ii., pi. iv., p. 52.) 
 
 9. Marble Pulpit in the baptistery of the Cathedral of Pisa, 
 one of the principal works of Nicola Pisano, completed in 1260. 
 This magnificent pulpit, or pergamo, is similar in style to those 
 erected by the Italians at this period in their principal churches : 
 they were used either for preaching or for the reading of the 
 Epistle and Gospel. It is hexagonal in form, resting on arches 
 supported by pillars of oriental granite or marble: there are 
 figures of saints and of the evangelists over the capitals of the 
 columns and in the spandrils of the arches. There are bas-reliefs 
 on each of the sides with the exception of one, occupied by the 
 stairs. The subjects of these bas-reliefs are from the New 
 Testament ; viz. the Birth of Christ, the Adoration of the Magi, 
 the Presentation to the Temple, the Crucifixion, and the Last 
 Judgment: tliis last is perhaps the finest of these bas-reliefs, 
 with the exception of the Adoration of the Magi, which has been 
 given at large at No. 7 of this plate. The following inscription, 
 giving the date of the work, 1260, and the name of the sculptor, 
 is under the bas-relief of the Last Judgment:— 
 
 ANNO MILLENO BIS CENTVM BISQVE TRICENO 
 
 HOC OPVS INSIGNE SCVLPSIT NICOLA PISANVS 
 
 LAVDETVR DIGNE TAM BENE DOCTA MANVS 
 
 (Morrona, Ibid, vol. i., p. 236, and vol. ii., pi. iii., p. 47. The 
 same, in the Compendio, pp. 38, 141.) 
 
 10. Statue of the Virgin and Child, size of life, over the south 
 door of the Duomo, at Florence. The Virgin holds a flower in her 
 hand, emblem of the “ Maria del fiore,” patroness of this church, 
 so called in allusion to the name of the city Florence, and to 
 the arms of the city, a red lily on a white field. This is one 
 of the finest works of Giovanni, son and pupil of Nicola Pisano, 
 who equalled, and sometimes surpassed his father. (Vasari, 
 Ibid, vol. i., p. 24. Morrona, Ibid, vol. ii., pi vi., p. 69.) 
 
 11. A statue of the Virgin and Child, size of life, on the 
 altar of the Oratory della Compagnia della Misericordia at 
 Florence, on the Place of the Cathedral. Vasari considers it as 
 one of the finest works of Andrea d’Ugolino, called Andrea 
 Pisano, sculptor and architect. He was bom in 1270, and died 
 in 1345, and was a fellow labourer with Giovanni Pisano, son 
 of Nicola, and was probably a pupil of both. He became the 
 founder of the Florentine school, in which Orcagna, Donatello, 
 and afterwards the celebrated Lorenzo Ghiberti flourished. 
 (Vasai’i, Ibid, vol. i., p. 77. Morrona, Ibid, vol. ii., p. 183.) 
 
 In consequence of a document discovered latterly, this statue 
 is found not to be by Andrea Pisano himself, but by one of his 
 pupils, Alberto di Arnoldo. It was commenced in 1359, and 
 completed in 1364, and is an evidence of the progress of Sculp¬ 
 ture in the school of Pisa. 
 

PLATE XXXIII. 
 
 CONTINUATION OF THE WORKS OF NICOLA PISANO AND OF HIS PUPILS. BAS-RELIEFS OF THE PRINCIPAL 
 FACADE OF THE CATHEDRAL OF ORVEETO. THIRTEENTH AND FOURTEENTH CENTURIES. 
 
 1. The Creation of Man ; part of a bas-relief in marble, on the 
 principal façade of the Cathedral of Orvieto. (Guglielmo della 
 Valle, Storia del Duomo di Orvieto; Roma, 1791, in 4to., pi. viii.) 
 
 2. God forbidding Adam and Eve to eat of the Tree of 
 Knowledge ; a bas-relief from the same façade. (Ibid, pi. xi.) 
 
 3. The Anunciation ; bas-relief of the same façade. 
 
 4. The Salutation of Elizabeth and Mary ; bas-relief of the 
 same façade. 
 
 5. The Adoration of the Magi ; this bas-relief is not imbued 
 with the same nobleness and truth of expression as the one of 
 No. 7, in the preceding plate, and probably is not by Nicola 
 Pisano himself, but by one of his pupils. 
 
 6. The Kiss of Judas; bas-relief of the same façade. An 
 inferior composition also, probably not by Nicola Pisano, but 
 by one of his pupils. 
 
 7. Three Women; part of a bas-relief, of the same façade, 
 representing Paradise. This, no doubt, was the work of one of 
 the pupils of Nicola Pisano. 
 
 8. Part of a bas-relief, of the same façade, representing 
 Hell. The attitudes of the figm-es are rather exaggerated, and 
 the heads almost verge upon caricature ; but the variety and 
 force of expression being the cause of these defects, they may be 
 the more easily excused. (Ibid, pi. xix.) 
 
 9. Some of the heads of the preceding bas-relief, at large. 
 
 10. Several figures of Prophets, on the same façade, by 
 Agostino and Agnolo of Siena, pupils of Nicola and Giovanni 
 Pisano. The character of the prophet is well expressed, and 
 the draperies are carefully executed ; and, in all respects, this is 
 thought by Vasari to be one of the best of the bas-reliefs of the 
 façade. (Vite de’ Pittori; Roma, vol. i., p. 61.) 
 
PLATE XXXIV. 
 
 MAUSOLEUM OF ST. PETER THE MARTYR, BY GIOVANNI DI BALDUCCIO, IN THE CHURCH OF S. EUSTORGIO, 
 MILAN. FOURTEENTH CENTURY. 
 
 1. The lower part of the monument rests on eight pillars, 
 against which are placed figures of the size of life, representing i 
 the virtues; those at the back are the cardinal virtues, and 
 those in the front given in this plate, are the three Christian | 
 virtues, Faith, Hope, and Charity, and, as proceeding from 
 them, Obedience, characterized by the yoke she holds in her 
 hand. Each of these figures bears her appropriate attribute, 
 and has the symbolical animal at her feet. 
 
 2. The body of the Sarcophagus containing the remains of | 
 St. Peter the Martyr. The four sides are enriched with eight 
 bas-reliefs from subjects of the life and miracles of the Saint. 
 Tire middle one represents him visiting and healing the sick, 
 the one on the right his appearing in a cloud to quell the storm, 
 and the one on the left represents liis body receiving public 
 adoration after his death. Eight standing figures separate these 
 bas-reliefs; those on the corners are the four Fathers of the 
 Church, and the others are St. Peter, St. Paul, S. Eustorgio, and 
 St. Thomas Aquinas. 
 
 3. The cover, of pyramidal form, also decorated with bas- 
 reliefs on the four sides. That in the centre, shown in this plate, 
 represents the martyrs St. John and St. Paul ; the one on the 
 right the Cardinal Orsini, and the one on the left the 
 King and Queen of Cyprus, kneeling ; who, with many other 
 high personages, contributed to the erection of this great 
 
 work. Around this upper part are eiglrt other figures, appearing 
 from their symbols to be of the celestial choir. 
 
 4. The upper part of the monument, also decorated with 
 figures. In the centre niche are the Virgin and Child, St. 
 Dominic and St. Peter the Martyr on either side, and on the 
 left stands our Saviour between two angels. This magnificent 
 monument is at Milan, in the Church of S. Eustorgio, and is built 
 of white Carrara marble, with the exception of the pilasters, 
 which are of red spotted Verona marble. It is by Giovanni di 
 Balduccio of Pisa, who completed it in 1339, according to the 
 following inscription :— 
 
 MAGISTER JOHANNES BALDVCCII DE PISIS SCVLPSIT HANC ARCHAM 
 ANNO DOMINI MCCCXXXVIIII 
 
 Morrona (Pisa Illustrata nelle belle arti del disegno, vol. ii., 
 pL ix., p. 199) is of opinion that the sepulchral monument of 
 Guamiero, duke of Lucca, son of the celebrated Costruccio 
 degli Interminelli, is by the same artist, and of about the year 
 1322. It is also thought that the monument of Azone Visconti, 
 who died in 1339, is his work. It was formerly in the church 
 of the Castle of S. Gottardo, Milan, and is now in the collection 
 of the Marchese Trivulzio. The marble reliefs of the pulpit 
 in a church in S. Casciano, at Florence, are certainly by this 
 sculptor, as the following inscription proves :— 
 
 HOC OPVS FECIT JOHANNES BALDVCCII MAGISTER DE PISIS 
 
PLATE XXXV. 
 
 STATUES, BAS-RELIEFS, AND OTHER WORKS OF SCULPTURE, OF THE ITALIAN SCHOOLS. 
 FOURTEENTH CENTURY. 
 
 1. Power, a figure in bas-relief from the façade of the Loggia 
 dei Lanzi, on the Place of the old palace at Florence, sculptured 
 in marble in the middle of the fourteenth century by Andrea di 
 Cione, called Orcagna, or by his pupil Giacomo di Pietro. 
 (Vasari, Vite de’ Pittori ; Roma, vol. i., p. 119. Baldinucci, 
 Notizie de' Professori del disegno, vol. i., part ii., p. 128, 142.) 
 The elevation of the façade of this portico is given in the 
 Architectural portion of this work, in pi. xlii., No. 25. 
 
 2. One of the statues of the tower of the Church of S w - Maria 
 del Fiore at Florence, by Andrea d’Ugolino, called Andrea 
 Pisano ; fourteenth century. (Momma, Pisa illustrata, vol. ii., 
 pi. viii., p. 182.) 
 
 3. The Virgin holding in her arms the Child Jesus, to whom 
 she is giving a rose; one of the great works of Nino, son and 
 pupil of Andrea Pisano, on the high altar of the Church of 
 S“- Maria della Spina at Pisa; fourteenth century. (Ibid, 
 vol. ii., pi. xi., p. 219.) 
 
 4. The Abbot, St. Antonius, alto relievo, by Thomas, second 
 son of Andrea Pisano, on the high altar of the Church of St. 
 Francis at Pisa ; fourteenth century. (Ibid, vol. ii., pi. x., 
 
 p. 216.) 
 
 5. Religion or Faith, a figure from a marble bas-relief of the 
 fourteenth century, of the façade of the Loggia dei Lanzi, by 
 Andrea Orcagna, or one of his pupils. (Vasari, vol. i., p. 119. 
 Baldinucci, vol. i., part ii., p. 128, 142.) 
 
 6. Hope, a bas-relief, on the south door of the Baptistery at 
 Florence, which, according to the inscription on the door, 
 was cast in bronze, by Andrea Pisano, from a design by Giotto, 
 in the year 1330. (Vasari, vol. i., p. 78. Momma, Pisa 
 illustrata, vol. ii., p. 174.) 
 
 7. A bas-relief in bronze, representing the interment of St. 
 John the Baptist, by Andrea Pisano, on the same door of the 
 Baptistery at Florence. (Vasari, Ibid. Momma, Ibid.) 
 
 8. Christ baptized by St. John, a bas-relief in bronze, of the 
 same door, by Andrea Pisano. (Vasari, Ibid. Momma, Ibid, 
 voL ii., p. 175.) 
 
 9. Bas-relief in marble, on the Mausoleum of Pietro de’ 
 Cemiti, in the cloisters of S. Giacomo Maggiore at Bologna; 
 a work of the fourteenth century, as is stated in the following 
 inscription :— 
 
 HIC JACET VIR MEMORIOSVS DOMINVS 
 
 PETRVS DE CERNITIS DOCTOR LEGALIS SEPVLTVS MCCCXXX 
 
 10. The Creation of Eve, one of the bas-reliefs of the 
 tower of the Duomo at Florence, by Giotto, in the fourteenth 
 century. (Vasari, Ibid, vol. i, p. 53.) 
 
 11. The Creation of Adam, has-relief in marble, on the 
 fountain on the Place at Sienna, executed in the beginning of 
 the fifteenth century, by Giacomo della Quercia. (Vasari, Ibid, 
 vol. i., p. 186. Della Valle, Lettere Sanesi, vol. ii, p. 151.) PI. 
 xxxix., Nos. 13 and 14, give two other works of this artist from 
 the same monument 
 
 12. Adam and Eve driven out of Paradise ; bas-relief of the 
 same fountain, also by Giacomo della Quercia. (Vasari, Ibid. 
 Lettere Sanesi, Ibid.) 
 
 13. Bas-relief in marble, on a sarcophagus of the Merlotto 
 family, in the Church of S 13 - Chiara at Naples. The warrior 
 kneeling before the Virgin, is Drugo Merlotto, who died in 
 1339, and whose epitaph is quoted by Engenio in his Napoli 
 sacra (Napoli, 1624, p. 249.) 
 
 14. Christ taken down from the Cross, surrounded by the 
 Virgin, Mary Magdalen, St. John, and Joseph of Arimathea 
 This bas-relief is in the Church of S“- Chiara at Naples, on a 
 sepulchre believed to be of the two young princesses, daughters 
 of the Duke Charles of Durazzo, who died in 1347. (Engenio, 
 Ibid, pp. 115, 243.) 
 
 15. Figure of a young child of royal blood, on a monument 
 in the same church ; fourteenth century. The writers of that 
 time do not state clearly, in their accounts of the mausolea of 
 this church, whose monument this is, but the fragment of the 
 inscription 
 
 QVI OBIIT DIE XIII JANVARII XII INDICTIONE ANNO DOMINI MCCCXUIII 
 
 leads to the supposition that it was erected to the young Lewis, 
 son of the Duke of Durazzo, who died in 1344, at the age of 
 one month, and whose epitaph is given by Summonte. (Sum- 
 monte, Historia della città e regno di Napoli, vol ii, p. 417.) 
 
 16. Marble Tomb of a lady of the house of Savelli, in the 
 Church of S' 3 Sabina, Rome ; fourteenth century. It bears the 
 following inscription :— 
 
 ANNO DOMINI MCCCXV MENSE JANVARII DIE XXVIII OBIIT NOBILIS 
 DOMINA DOMINA PERNA VXOR QVONDAM LVCE DE SABELLO 
 CVJVS ANIMA REQVIESCAT IN PACE AMEN 
 
 17. Marble Mausoleum of a Neapolitan Cardinal, of the 
 house of Vulcani; according to the inscription it was erected in 
 1322. This monument is placed in the Church of S u - Maria 
 Nuova, now S' 8- Franzesca Romana, on the Campo Vaccino. 
 The inscription is as follows :— 
 
 CARDINIBVS SANCTÆ CARDO FAMOSVS IN ALMIS 
 ECCLESIÆ CVJVS CAMERARIVS OMNIA TOTO 
 GESSIT AMORE VIGILI MAJOR QVAM MENTE GERENDIS 
 SEMPER ERAT MAGNVS ANIMO CONSVLTVS APERTO 
 PARTHENOPE NATVS BVLCANA EX PROLE MARINVS 
 ASTRA PETENS PVLCHRO LIQVIT SVA MEMBRA SEPVLCHRO 
 M SEMEL ET C TER NOVIES II QVATER ADDE 
 
 18. Portrait in marble of Pope Benedict XII., as still seen 
 in the subterranean Church of St. Peter at Rome. It is stated in 
 the inscription that it was erected to his memory, in gratitude 
 for having given a new roof to the old Basilica ; it also states 
 that the name of the sculptor was Paul, of the school of Sienna ; 
 
 BENEDICTVS PAPA XII THOLOSANVS FECIT FIERI DE NOVO TECTA 
 HVJVS BASILICE SVB ANNO DOMINI MCCCXLI 
 MAGISTER PAVLVS DE SENIS ME FECIT 
 
 (Dionysius, Sacranun Basilicæ Vatican® cryptarum monumenta; 
 Romæ, 1773, pi. vii. and viii., p. 16, 17, 18. Torrigio, Sacre 
 Grotte Vaticane, pp. 72 and 172. Ciampini, Vetera Monimen ta, 
 vol. iii., p. 65.) 
 
 19. Side view of the marble Monument to Pope Boniface 
 VIII., who died in 1303. He had himself commanded its erec¬ 
 tion in 1301. 
 
 20. View from above of the same monument, showing the 
 figure of the Pope. This is in the subterranean Church of St. 
 Peter. (Dionysius, Ibid, pi. xlix., p. 127.) 
 
 21. Marble Monument, in the Church of St. Andrew at 
 Tivoli. The inscription states that he was of the Colonna family, 
 and died in 1352:— 
 
 HIC JACET CORPUS ANGELI NOBILIS VIRIS ODDONIS. 
 
 DE COLVMNA QUI OBIIT ANNO DOMINI MCCCLII INDICTIONE 
 SEXTA MENSE OCTOBRE DIE TERTIA CVJVS ANIMA 
 REQVIESCAT IN PACE AMEN 
 
 Sculpture K 
 
PLATE XXXVI. 
 
 TABERNACLE OF THE HIGH ALTAR OF THE CHURCH OF ST. JOHN LATERAN ROME. 
 FOURTEENTH CENTURY. 
 
 1. Lower part of the tabernacle (ciborium) of the high altar 
 of the Church of St. John Lateran. The four columns at the 
 comers are of granite, and their capitals of marble gilt. The two 
 small projections on the sides enclose the stairs to the tribune, 
 or balcony of the upper part. 
 
 2. Tribune, or balcony, for the exposition of the relics, 
 enclosed in the reliquary (No. 3). The dado, marked A B, is 
 enriched with small figures of Apostles and Evangelists, given 
 at large on the sides of this plate. The sides of the dado are 
 decorated with frescoes, some of which are given in pi. cxxix. of 
 the part on Painting of this work. 
 
 3. Upper part, enclosed by a grating and serving for the 
 depository of the relics, among which are the heads of St. Peter 
 
 and St. Paul, placed in reliquaries of the form of busts, draw¬ 
 ings of which are given in the next plate. 
 
 4. The eight statues of Evangelists and Apostles at the 
 corners of the gallery. The statues marked A and B are those 
 seen in this plate. This tabernacle, which is an example of the 
 state of the three arts collectively at this period, was erected by 
 Pope Urban V., a Frenchman by birth, upon his journey from 
 Avignon to Rome, between the years 1367 and 1370. The 
 arms of Charles V., king of France, and of this Pope, are 
 placed in the spandrils over the arch. (Ciampini, Vetera 
 Monimenta, vol. iii., p. 15, and in the Index, p. 191, at the word 
 Ciborium.) 
 
PLATE XXXVII. 
 
 BUSTS OF ST. PETER AND ST. PAUL, IN THE CHURCH OF ST. JOHN LATERAN ROME. 
 FOURTEENTH CENTURY. 
 
 1. Bust of St. Paul, of silver and gold, serving as the 
 reliquary for the head of this apostle: on the breast is an 
 ornament in the form of a lily, set with precious stones, imme¬ 
 diately under which is the following distich 
 
 Crhit fljujjssrolicmf printer tibi Paul* bocaritf 
 J15am bejetera nnttiçf bajï tuba tiara Deo 
 
 There are two inscriptions on the base, the upper one, 
 
 Domimi* attaint* papa V. fecit fieri Anno Domini mrcrinu 
 
 The lower, 
 
 3ral ° ©“"'ini mnclrir Caroliij» £>ri jtatia Jfemcotum 
 rer bonabit lilium 
 
 On the base between these two inscriptions are bas-reliefs, 
 with subjects from the life of the apostle. 
 
 2. Bust of St. Peter, of silver and gold, serving as the re¬ 
 liquary for the head of this apostle. The following inscription, 
 
 which is under the lily, is in allusion to the return of Urban V. 
 to Rome, from Avignon:— 
 
 €rigat ut propriam *cbem tua petra rebibit 
 fpitc (Haticana pastor ab arcc Pctre 
 
 The base of this bust has bas-reliefs, and the same inscrip¬ 
 tions as the bust of St. Paul. 
 
 3. Specimens of the letters used in the inscriptions. 
 
 These two busts were executed by the goldsmiths, Giovanni 
 Bartoli, of Sienna, and Giovanni Marci, for Urban V. They were 
 much injured at the time of the French occupation of Italy, then- 
 stones and ornaments being taken away, but during the ponti¬ 
 ficate of Pius VII, the Duchess of Villa Hermosa, a Spanish 
 lady, had them restored by Valadier, a French goldsmith. 
 (Ciacconi, Vitœ Pontificum ; Romæ, 1630. Rasponi, De Basilica 
 e Patnarchio Lateranensi. Marangoni, De Sancta Sanctorum. 
 Padre della Valle, Lettere Sanesi.) 
 
 
PLATE XXXVIII. 
 
 STATUES, 
 
 BAS-RELIEFS, AND OTHER SCULPTURES OF THE DIFFERENT SCHOOLS IN AND OUT OF ITALY. 
 FIFTEENTH CENTURY. 
 
 1. Christ crowning the Virgin ; bas-relief in marble over the prin¬ 
 cipal door of the Cathedral at Naples, executed in the early part of the 
 fifteenth century, by Antonio Bamboccio, painter, architect, and sculptor, 
 who was born in 1368 at Piperno, and died in 1435. (Dommici, Vite 
 de’ Pittori, Scultori cd Architetti Napolitain; Napoli, 1742, vol. i., 
 pp. 144, 145.) 
 
 2. Bas-relief on a tomb in the Church of S. Martino Magg.ore at 
 Bologna ; sixteenth century, according to the following inscription : 
 
 DEO OPT MAX 
 
 PETRVS CANONICVS LVDOVICI FILIVS JVRE CONSVLTVS 
 INCOMPARABIUS AC PATRIAE ORNAMENTVM SINGVLARE 
 SIBI ET JOANNI ANDRAE BENTIVOLO EJVS GENERO 
 HAEREDIBVS FIERI JVSSIT ANNO GRATIAE MDII 
 
 ILLVSTRIS VIR 
 TESTAMENTO 
 EORVM QVE 
 
 3. St. Mark the Evangelist, in low relief in marble, over the ; 
 principal door of the Church of St. Mark at Rome, executed in 1470. 
 
 4 Statue iu terra cotta, part of a group in the Church of Monte 
 Oliveto, Naples. Thi. group in terra cotta is composed of sereral figures 
 of the size of life, coloured in imitation of nature. The subject is the Death 
 of Christ, surrounded by the Virgin lying senseless in the arms of the holy 
 women, St. John, Nicodemus, and Joseph of Arimathea. The greater i 
 part of these figures are likenesses of celebrated persons of the time, such 
 as the King Alphonso II. and his son Ferrantino, of Giacomo Sannazaro j 
 as Joseph of Arimathea, and Giovanni Pontana as Nicodemus ; the latter | 
 is the one given here. The author of this great and beautiful work, 
 which was executed by command of King Alphonso III. in 1450, was j 
 Guido Mazzoni or Paganino, commonly called Modanino, from the name I 
 of his native city, Modena, where he died in 1518. (Vasari, "Vite de 
 Pittori, &c.; Roma, vol. i., p. 303. Engenio, Napoli sacra, p. 510. 
 Celano, Notizie di Napoli, 3 vols, in 12mo. ; Napoli, 1758, vol. n., p. 21. 
 Tiraboschi, Notizie de’ Pittori Modencsi ; Modena, 1786, in 4to., p. 25/.) ! 
 
 5. The Virgin, statue of the size of life, from thé group by Modanino, 
 
 described in the preceding. ' 
 
 6. Sepulchral monument in bronze, with the figure in low relief of 
 Pope Martin V., of the house of Colonna, in the middle of the nave of 
 the Church of St John Lateran, the rich mosaics of which he had 
 restored. This monument is by Simon, brother of Donatello, both of whom 
 were Florentine sculptors. Its date must be subsequent to 1431, as the 
 death of this pontiff occurred in that year, as stated in the inscription 
 
 MARTINVS PAPA V SEDIT ANNVS XIII MENSES III DIES XII OBIIT ANNO 
 MCCCCXXXI DIE XX FEBRVARII TEMPORVS SVORVM FELICITA 
 
 (Vasari, Ibid, vol. i., p. 282-289. Ciacconi, Vitæ Pontificum et Cardi- 
 nalium ; Romæ, 1630, 2 vols, in fol., vol. ii-, p. 1100.) 
 
 7. Marble equestrian Btatue in low relief of Robert Malatesta, 
 general of the papal army in the reign of Sixtus IV. On the base is an 
 inscription describing the fate of this young warrior, who was killed in 
 the midst of his triumphs in 1482. This monument, which was erected 
 to the memory of this prince by the Pope, in gratitude for the many 
 important services he had rendered him, was subject to many changes : 
 it was first placed over his mausoleum under the portico of the old 
 Church of St. Peter, where it remained until the complete destruction 
 of that basilica in 1607 : it was then, with many other monuments, 
 removed to the Subterranean Church, where it did not, however, long 
 remain, as in 1616 Cardinal Scipio Borghesc, who at that time was 
 building a casino to his villa, had it brought to the principal façade on 
 the west, from whence it w.as subsequently taken, with the collection ot 
 the Princes Borghese, to France. The author of this statue is Paolo 
 Romano, a sculptor and goldsmith, who flourished at Rome in the 
 fifteenth century. He executed this statue about the year 1458, during 
 the pontificate of Pius II. (Vasari, Ibid, vol. i., p. 355. Torrigio, 
 Sacre grotte Vaticane, p. 601. Montelatici, Villa Borghese; Roma, 
 1700, p. 155.) 
 
 8. Mausoleum of Antonio Rido of Padua, in the side porch of S 1 ®- 
 Maria Nuova on the Campo Vaccino; it has a bas-relief of the figure 
 of this general on horseback, who served the church under Popes 
 Eu "emus IV. and Nicholas V., as recorded in the following inscription : 
 
 ANTONIO RIDO PATAVINO SVB EVGENIO PONTEFICE MAXIMO ARCIS 
 ROMANAE PRAEFECTO AC NICOLAI V COPIARVM DVCI FRANCISCVS FILIVS 
 FECIT 
 
 This monument was erected in 1475. 
 
 9. Bas-relief over the great door of the Castle Verger in Anjou, of the 
 end of the fifteenth or beginning of the sixteenth centuries; it represents 
 the knifht Peter de Rohan, Lord of Gié, who usefully served the state 
 under the Kings Louis XI., Charles VIII., and Louis XII. He has the 
 staff of a maréchal in his hand, bestowed on him by Louis XI. in 1745. 
 His own dress and the saddle-cloth of the horse are studded with his armo¬ 
 
 rial bearings, with which arc quartered the arms of Milan, Navarre, and 
 Evreux, as indicated by the inscription on the pedestal. The Maréchal 
 de Gié died in 1513. (Montfaucon, Monumens de la Monarchie Française, 
 vol. iv., pi- xxv., p. 143.) _ „ . 
 
 10. Marble tomb, in the portico of the Church of S. Onofno ; the 
 inscription upon it states that it was erected in 1449. 
 
 DIVO NICOLAO HEREMITAE BONAE MEMORIAE MCCCCXLVIIII 
 HOC TVMVLO AETERNVM PATERO NICOLAE QVIESCIS 
 VRBS GtVEM ROMA TENET FVRCAE GENVERE PALENAE 
 TV SANAS MORBOS CEDITE MACAONES ARTES 
 O PIETAS O SANCTA FIDES O MVNERA CHRISTI 
 DENIQUE JANICULO MERITIS DEFENDIT HEREMUM 
 IPSE TVIS PLACIDO NUNC SANCTVS ONOFRIVS ORE 
 
 11. Meeting of Francis I. of France and Henry VIII. of England 
 on the Field of° the Cloth of Gold, between Ardres and Guincs in 1520 ; 
 part of a bas-relief on a wall in the court of the Hotel Bourgtheroulde 
 at Rouen. (Montfaucon, Ibid, vol. iv., pi. xxx., p. 163-206. Besser, 
 Voyage dans l’ancienne France.) 
 
 12. Bas-relief in marble on the mausoleum erected by Cardmal 
 Jacopo Sadoleto to the memory of his father, in the outer portico of the 
 Cathedral of Modena, his native city. Cardinal Sadoleto was a cele¬ 
 brated historian of the time of Leo X The following is a part of the 
 inscription :— 
 
 DEO IMMORTAL! SACRVM JOANNI SADOLETO JA FILIO JVRIS VTRIVSQVE 
 SCIENTIA OMNIBVS PLANE ANTECELLENTE MEMORIA INCOMPARABILI 
 INGENIO PRAESTANTISSIMO FIDE RELIGIONE TEMPERANTIA SVPRA VEL 
 EXIMIAM LAVDEM AD VSQVE DIES EXTREMOS INCOLVMITATE PERPETVA 
 ET INTEGRA PROVECTO 
 
 13. Bust of one of the figures representing the Virtues, on the foun¬ 
 tain of the great square at Sienna, executed by G iacomo della Quercia 
 in the fifteenth century. (Vasari, Vite de' Pittori, voL i., p. 186. 
 Guglielmo della Valle, Lettere Sanesi, vol. ii., p. 151.) 
 
 °14. The Virgin and Child, a group in marble by Giacomo della 
 Quercia, on the same fountain. In pi. xxxv., Nos. 11 and 12, are two 
 bas-reliefs of the Bame, the successful execution of which caused the 
 name of Della Fonte to be given to the sculptor. 
 
 15. Figure of a child, half-relief, in glazed terra cotta, similar to 
 those which decorate the outer portico of the Hospital of the Innocents 
 at Florence. These little figures were executed towards the end of the 
 fourteenth century by Andrea, nephew of Luca della Robbia. (Vasari, 
 Ibid, vol. i., p. 202.) 
 
 16. Half figure of the Virgin and Child, medallion in glazed terra 
 cotta, over the tomb of Cardinal Jacopo of Portugal, in a side chapel 
 of the Church of S. Miniato, outside the walls of Florence, by Luca 
 
 ; della Robbia, fifteenth century. (Vasari, Ibid, vol. i., p. 200.) 
 
 17. Crucifix carved in wood in the beginning of the fifteenth 
 century, by Fillippo Brunelleschi, and placed in the Capella Gondi, in 
 gu. Maria Novella at Florence. This is celebrated as having been done 
 in emulation of one executed by Donatello, in the Church of S u - Croce 
 
 1 in the same city. (Vasari, Ibid, vol i., p. 245 and 274.) 
 
 18. Bust, in bronze, of one of the Apostles, on the façade of the 
 Church of Or San Michele at Florence, near the statue of St. Thomas 
 
 ; which is given in this plate at No. 22. This bust is by Andrea Verrochio, 
 i and of the fifteenth century. (Vasari, Ibid, vol. i., p. 458.) 
 
 19. The Annunciation, bas-relief in marble, by Donato, commonly 
 j called Donatello, in the Chapel of the Cavalcanti in the Church of S‘“- 
 
 Croce, Florence. This is one of the earliest works of that celebrated 
 artist, and was considered by Vasari to be one upon which his fame was 
 I founded. He was born in 1383, and died in 1466. (Vasari, Ibid, vol. i., 
 p. 273.) 
 
 20. St. John the Baptist, statue in wood executed by Donatello for 
 the Baptistery of St. John Lateran. This statue having suffered by 
 
 I time, it was removed to the sacristy of the Basilica, and a copy in 
 bronze, cast by Poncet the French sculptor, was put in its place at the 
 Baptistery. 
 
 21. Statue of St. George in marble, by Donatello, on the north side 
 ! of the Church of Or San Michele ; the bas-relief on the base represents 
 
 the battle of St. George and the Dragon. This is considered to be one 
 i of the finest works of Donatello. (Vasari, Ibid, vol. i., p. 276.) 
 
 22. Upper part of a group in bronze on the east side of the Church 
 | of Or San Michele, Florence, by Andrea Verrochio, representing the 
 
 incredulity of St. Thomas ; it is one of the most remarkable efforts of 
 this master, who was both painter and sculptor, and had for his pupils 
 1 both Pietro Perugino and Leonardo da Vinci. He was born in 1432, 
 
 ! and died in 1488. (Vasari, Ibid, vol. i., p. 458.) 
 
Xh-JOCY/X 
 
PLATE XXXIX. 
 
 MAUSOLEUM OF CARDINAL PHILIPPE D’ALENÇON IN THE CHURCH OF S TA - MARIA IN TRASTEVERE IN ROME. 
 
 FIFTEENTH CENTURY. 
 
 1. Lower part of the Mausoleum erected to the memory of 
 Cardinal Philippe d’Alençon in the Church of S 1 "- Maria in 
 trastevere in Rome, near the sacristy. The bas-relief represents 
 the Virgin, expiring in the midst of the Apostles and their 
 Disciples ; underneath is the following inscription : 
 
 FRANCORVM GENITVS REGIA DE STIRPE PHILIPPVS 
 ALENCONIADES HOSTIAE TITVLATVS AB VRBE 
 ECCLESIAE CARDO TANTA VIRTVTE RELVXIT 
 VT SVA SVPPUCIBVS CVMVLARENT MARMORA VOTIS 
 ANNO MILLENO CUM C QVATER ABDE SED I TER 
 OCCVBVIT QVA LVCE DEI PIA VIRGOQVE MATER 
 
 2. Figure of the cardinal represented laying on his tomb ; 
 Philippe d’Alençon was of the royal family of France, grandson 
 of Charles, count of Valois and Alençon, and brother of Philippe 
 le Bel: he was first bishop of Beauvais, then archbishop of 
 Rome, and afterwards cardinal and bishop of Ostia ; he died in 
 Rome in 1397. 
 
 3. Crucifixion of St. Philip the apostle, patron of this 
 cardinal, an oil painting on canvas. On the left in the corner 
 of the picture is the portrait of Philippe d’ Alençon, with his 
 name above. 
 
 4. Upper part of the mausoleum, with statues to the several 
 virtues of the cardinal. In the centre is a bas-relief in marble 
 of the Virgin ascending to Heaven. 
 
 The shield -with the arms of France is remarkable from the 
 number of lilies. This monument is supposed to he by Paolo 
 Romano, the sculptor of the equestrian statue of Robert Mala- 
 testa, already described at No. 7 of the preceding plate. His 
 name, Magister Paulus, is engraved on the mausoleum of Cardinal 
 Stefaneschi which is close to this one. He probably only 
 assisted his pupil Giovanni Cristoforo in its execution, who, 
 according to Vasari, vol. i., p. 355, worked in the Church of 
 S“ Maria in trastevere. 
 
PLATE XL. 
 
 A MAP OF THE WORLD ENGRAVED ON COPPER. FIFTEENTH CENTURY. 
 
 1. A map of the world, one-fourth size, engraved on a 
 circular plate of copper, its diameter being twenty-three inches 
 two lines. It gives the whole of the then known world, viz. : 
 Europe, Asia, and Africa. The rivers, seas, figures, and writing 
 are sculped out of the copper, and filled in with a black 
 composition of silver, copper, lead, and sulphur, called nigellum 
 or niello. The writing is in Latin, in Gothic characters, which 
 it is impossible to render accurately in this small size. 
 
 2. Specimen of the Gothic characters on the map, traced 
 from the original. 
 
 3. Examples of the abbreviations and double letters used in 
 this wilting, traced from the original. 
 
 4. Under this and the following numbers are given some 
 sentences of the most historical interest. This one relates to 
 the city of Paris, and runs thus : 
 
 JParip cum parc boni tare ct bominio pebet in uniberpitate 
 
 Planito et Captblcto 
 
 5. Bordeaux : 
 
 3fohannep ter JFraitcontm ïjic captuP pec principe»! 
 
 MlfyaUe in bcllo 
 
 6. Bajazetl. : 
 
 ©rccia in cuo -Basât bcbcHabit Cbriptianop mccclrrrrb 
 
 cr quibus multi nobles .frantic bccapitati Ji3icopoIi 
 
 7. Tamerlane: 
 
 e.mtmtl.m Ortmtit 38.i#ce (Bajazet I.) mtttcii Cilitia 
 JPaitphilia 
 
 8. A part of the map traced from the original, giving a 
 complete idea of the manner in which the trees, rivers, moun¬ 
 tains, animals, and men, are indicated. The following is the 
 principal inscription, commencing from the top :— 
 
 Ç)ic habitant â»tc peu Cartari pauperep qui filios ct 
 filial et parentes inopia tocnbuut picut multi cbriptianop 
 bobcp in forip Eupia = Ipcc prima plaga cpt beperta 
 
 propter.paganorum contra cbriptianop = 
 
 Danubius amnip Vienna Austria = Italia nitenp 
 pinguip fortip Crebip = ©uropa tertia pars orbip 
 
 tccrarum = Canapp flubiup.mapimup = 
 
 ê-eptem captra cljtiptianorum inter pilbap paganorum 
 = jttorabia ©it quanbo preppatur a canibup bibit 
 aquam per op pemente puper cop cmittit = l£)ic 
 transit pilba Bocmica que pc ertenbit ab paganop = 
 Eoptraor l)ic pagani aborant ignem = Jin hoc lacu 
 
 &c., &c. 
 

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SECOND PERIOD. 
 
 PROGRESS OF THE RESTORATION OF SCULPTURE IN THE 
 MIDDLE OF THE FIFTEENTH CENTURY. 
 
 PLATE XLI. 
 
 PRINCIPAL DOOR OF THE BAPTISTERY OF FLORENCE, EXECUTED IN BRONZE BY LORENZO GHIBERTI. 
 
 FIFTEENTH CENTURY. 
 
 This celebrated door, which is at the entrance of the Bap¬ 
 tistery of St. John at Florence, is one of the most beautiful 
 monuments of modem art : it is entirely of bronze gilt. It is 
 divided into ten compartments, containing bas-reliefs, the subjects 
 from the Old Testament. In the niches on the styles are twenty 
 figures of sybils and prophets, and between them are twenty- 
 four busts, amongst which are those of Ghiberti and of his 
 father-in-law Bartoluccio, a celebrated jeweller, who aided him 
 in the execution of this great work. Near to the two busts is 
 this inscription in golden letters :— 
 
 LAVRENTII CIONIS DE GHIBERTIS OPVS MIRA ARTE FABRICATVM 
 
 The architrave, also in bronze, is enriched with festoons of 
 flowers and fruit, with birds and animals introduced. According 
 to the ancient register of expenditure this door was commenced 
 in the year 1424, and completed on the 11th of February, 1456. 
 Lorenzo Ghiberti was born in 1378, and consequently was 78 
 years of age, if indeed he was then alive, which may be doubted, 
 as his will, according to Baldinucci, bears the date of November, 
 1455. (Vasari, Vite de’Pittori; Roma, vol. i., p. 220. Baldi¬ 
 nucci, Notizie de’ Professori del disegno ; Turin, vol. i., p. 324. 
 Lumachi, Memorie storiche dell’ antichissima Basilica di S. Gio. 
 Batista di Firenze; Firenze, 1782, p. 101.) 
 
 1. The bas-relief in this panel represents the creation of 
 Adam and of Eve; the eating the forbidden fruit; and the 
 expulsion from Paradise. 
 
 2. Cain tilling the ground ; offering with Abel a sacrifice 
 
 to the Lord ; killing his brother ; interrogated and cursed by 
 God. 
 
 3. Noah leaving the ark with his family; offering a sacrifice; 
 planting the vine; his drunkenness ; his cursing Ham; and 
 blessing Shem and Japhet 
 
 4. Three angels appearing to Abraham in the valley of 
 Mamre ; the sacrifice of Isaac. 
 
 5. Birth of Jacob and Esau ; Jacob, assisted by Rebecca, 
 obtains the blessing of his father Isaac, in the absence of his 
 brother Esau. 
 
 6. Joseph thrown into the well by his brethren; his being 
 sold to Potiphar; interpreting the dreams of Pharaoh; his 
 recognition of his brethren ; giving them a banquet ; concealing 
 the golden cup in the sack of Benjamin. 
 
 7. Aloses receiving the tables of the law on Mount Sinai, 
 while Joshua remains with the rest of the people at the foot of 
 the mountain. This subject is engraved at large No. 1 in the 
 next plate. 
 
 8. The waters of Jordan retiring before the passage of the 
 ark ; twelve stones taken from the bed of the river are placed 
 in memory of this event; Joshua erecting twelve tents ; besieging 
 and taking Jericho. This bas-relief is also engraved on the 
 following plate, No. 3. 
 
 9. David conquering Goliath; defeating the Philistines; 
 and returning in triumph. 
 
 10. The Queen of Sheba visiting Solomon and offering him 
 rich presents. 
 
 11. Plan of the door ; the tinted parts are in bronze. 
 
DETAILS OF THE BAS-RELIEFS ON THE 
 
 ST. ZENOBIUS, ANOTHER BAS-RELIEF 
 
 1. One of the bas-reliefs on the door of the Baptistery at 
 Florence, given in the preceding plate at No. 7. The subject is 
 Moses on Mount Sinai, receiving the tables of the law from 
 God. Joshua is here prostrate lower down on the mountain, 
 and at its foot are the terrified Israelites anxiously awaiting the 
 return of the legislator. 
 
 2. One of the figures of the preceding bas-relief drawn to a 
 larger size. 
 
 3. A bas-relief of the same door, given in the preceding 
 plate at No. 8. The subject is the Ark of the Covenant carried 
 by the Levites, stopping in the middle of the River Jordan ; 
 Joshua, followed by the Israelites, traversing the river ; twelve 
 men, chosen from the twelve tribes, each taking a stone from 
 the bed of the river, with which to erect a monument com¬ 
 memorative of this miraculous passage. Beyond are seen the 
 
 AT FLORENCE. MIRACLES OF 
 FIFTEENTH CENTURY. 
 
 twelve tents set up by order of Joshua ; and in the back-ground, 
 the holy ark making the tour of the walls of Jericho. 
 
 4. One of the figures of the preceding bas-relief. No. 3, 
 drawn to a larger size, representing the twelve Israelites carrying 
 the stones of the river Jordan. 
 
 5. Large bas-relief in bronze, executed by Lorenzo Ghiberti, 
 on one of the sides of the reliquary of St. Zenobius, bishop of 
 Florence, in the Church of S 1 ” Maria del fiore in the Chapel of 
 the Holy Sacrament. It represents one of the chief miracles 
 of this saint: a child, who was entrusted to him by a French 
 lady whilst she was performing a pilgrimage, died, and was 
 brought to life by him in the presence of the mother and the 
 inhabitants of the town. (Vasari, Vite de' Pittori; Roma, 
 tom. i., p. 219. Richa, Notizie istoriche delle chiese Florentine, 
 tom. vi., pp. 167, 204, and p. 304 of the plates.) 
 
 PLATE XLII. 
 
 DOOR OF THE BAPTISTERY 
 BY LORENZO GHIBERTI. 
 
j nâetit/ . -YVJ i/Vs cofo 
 
PLATE XLIIL 
 
 ENGRAVINGS IN INCA VO ON A BOX OF ROCK CRYSTAL BY VALERIO BELLI OF VICENZA. 
 SIXTEENTH CENTURY. 
 
 1. Christ’s entry into Jerusalem. 
 
 2. Christ washing the feet of the Apostles. 
 
 3. The betrayal of Christ in the Garden of Olives. 
 
 4. Christ brought before Pilate. 
 
 5. Christ led into the prætorium, and mocked before the 
 people. 
 
 6. Christ bearing his cross. 
 
 7. The entombment of Christ. 
 
 8. His descent into hell. 
 
 9. His reappearance to his Apostles, and the incredulity 
 of Thomas. 
 
 These different subjects, illustrating the Passion of Christ, 
 
 given in the size of the originals, were engraved by Valerio 
 Belli of Vicenza in incavo on crystal on the exterior of a little 
 jewel case which was presented in 1543 to Francis I., king of 
 France, by Pope Clement VII., on the occasion of his conducting 
 his niece, Catherine of Medicis, to Marseilles, to be married to 
 the Duke of Orleans, second son of Francis I., and afterwards 
 Henry II. 
 
 Valerio Belli was a celebrated gem engraver. He died 
 in 1546. 
 
 This case is now in the gallery of Florence. (Vasari, Vite de’ 
 Pittori, vol. ii., p. 404. Pelli, Saggio istorico della real Galleria 
 di Firenze, 2 vols. ; Firenze, 1779,vol. i., p. 246, and vol. ii., p. 294.) 
 
 Sculpture M 
 
PLATE XLIY. 
 
 MEDALLIONS IN WOOD AND BRONZE. FIFTEENTH AND SIXTEENTH CENTURIES. 
 
 1. Medallion in cedar wood, of modern Greek sculpture, 
 probably by a monk of Mount Athos. On one side is Christ 
 surrounded by the Apostles, and on the reverse the Virgin with 
 the Prophets. Over Christ is inscribed : 
 
 IHSOY2 XPI2T02 O IIANTOKPATOPA 
 Jesus Christ Omnipotent ; and over the Virgin : 
 
 MHTHP KYPIOY KAI ITAP0ENO 
 Mother of the Lord and Virgin. 
 
 2. Medallion in bronze, representing a council held by 
 Paul V., Pietro Barbo, the Venetian, elected 1464, died 1471. 
 In the lower part are the arms of this Pontiff, and on the 
 margin is this inscription : 
 
 SACRUM PUBLICUM APOSTOLICUM CONSISTORIUM PAULUS VENETUS 
 PAPA II 
 
 On the reverse is represented Christ in his glory at the moment 
 of the last judgment, with this inscription on the margin : 
 
 JUSTUS ES DOMINE ET RECTUM JUDICIUM TUUM 
 MISERERE NOSTRI DOMINE MISERERE NOSTRI 
 
 This medallion was accidentally found about twenty years ago 
 in the excavations that were made for the repairs of the founda¬ 
 tion of the Palace of Venice in Rome. It is given here in the 
 size of the original, and is possibly by Paolo Giordano, who 
 is supposed to have executed the portrait of Pope Paul II. 
 on a sardonyx which is in the gallery at Florence. (Pelli, 
 Saggio istorico della real galleria de Firenze, vol. ii., p. 11. 
 Giulanelli, Memorie degl’ intagliatori Modérai; Livorno, 1753, 
 
 p. 126.) 
 
 3. Medallion of an oval form in bronze; on one side is 
 represented the rape of the Sabines, and on the other a lion 
 hunt in the circus or amphitheatre. Under each of these 
 subjects is the name of the artist, Joannes di Castro Bononiensi ; 
 the celebrated Giovanni Bemardi da Castel Bolognese, one of 
 the most clever gem and medallion engravers of this period, 
 the commencement of the sixteenth century. He died in 1555 
 at sixty years of age. This medallion was executed for Cardinal 
 Hippolito di Medicis. (Vasari, Vite de' Pittori ; Roma, vol. ii., 
 p. 400.) 
 
DEO MAX. T SACK 
 
 ANTON IVS ET MICHAEL-B ON SI I F BATRES NOBILF.i 
 F I.ORENTINI HORWLT VS /-.DSP ICE FORTES IN 
 LDVERSIS-CONTRA-NON FIDENTES SEDF.MPERP 
 REQVIET1S VIVl SIB POST Q PUS 
 ETDE SE DV'M- TAXAT' ANNI IVSTOR MEMORIAL- 
 PER-C ON F RAT RES „ , ET MABIAE 
 
 GRATIAR ET G ONSOL HABEND COERAVERE 
 Kl C HAI 1 EXCOG IT AV \ T AN AG XX. XX ALT E B 
 OVAM VIS NAT V MAI OR AN X.l C V1V S P RIM Ah 
 E RANT- ADSENSVSEST-_ 
 
 jt/Y w-w/f 6 ?<?i 
 
 Y a . -A. 
 
 
 r~//<r /amst/Yetr. 
 
PLATE XLV. 
 
 MAUSOLEUM OF THE FAMILY OF BONSI AT SAN GREGORIO MAGNO ON MOUNT CELIO AT ROME 
 SIXTEENTH CENTURY. 
 
 1. Plinth, or lower part of the Mausoleum, on the sides of 
 which are the coats of arms, and in the middle is the inscription 
 to the memory of the two brothers Bonsi, whose remains were 
 placed here together. 
 
 2. The base on which the sarcophagus rests, decorated with 
 dolphins and cornucopia, and two busts of the brothers Antonio 
 and Michele Bonsi. 
 
 3. Sarcophagus which contains the bodies, decorated with 
 masks and foliage. 
 
 4. Bas-relief of the Virgin and Child, and two angels 
 praying. 
 
 5. Top of the Mausoleum, in the middle of which are the 
 lilies, the arms of the city of Florence. The pilasters and 
 capitals supporting the entablature are decorated with ara¬ 
 besques. It appears to have been erected at the commencement 
 of the sixteenth century, and is in the outer portico of the 
 Church of San Gregorio Magno on Monte Celio in Rome. 
 
THIRD PERIOD. 
 
 THE COMPLETE RESTORATION OF SCULPTURE IN THE 
 SIXTEENTH CENTURY. 
 
 PLATE XLVI. 
 
 DESIGN OF MICHAEL ANGELO FOR THE MAUSOLEUM OF POPE JULIUS IL, IN THE CHURCH OF SAN PIETRO IN 
 VINCOLI, AT ROME. SIXTEENTH CENTURY. 
 
 This monument, according to the original idea of Michael 
 Angelo, was to have been quadrangular in its form, and isolated ; 
 each of the sides woxdd have been similar in general design to 
 that represented in this plate ; but the death of J ulius II. interrup¬ 
 ted its completion, and subsequently many attempts were made 
 to alter it, the account of which is given in the lives of Michael 
 Angelo by Vasari and Condivi ; it was reduced to one façade, as 
 it is now seen, placed at the end of the transept of the Basilica 
 of S. Pietro in vincoli; the monument as executed differs 
 materially from this design, its principal ornament is the cele¬ 
 brated statue of Moses engraved in No. 2 of the following 
 plate. (Vasari, Vite de’ Pittori ; Roma, vol. iii., p. 21. Condivi, 
 Vita di Michelagnolo Buonaroti ; Firenze, 1746, pp. 18 
 and 70.) 
 
 1. Figures of men bound as prisoners, to represent, according 
 to Vasari and Condivi, the arts and talents chained, and, as it 
 
 were, reduced to a state of inaction by the death of the pontiff, 
 who, during his life, had so favoured them. 
 
 2. Niches, with statues of victory, who are treading under 
 their feet figures representing the provinces which had submitted 
 to his dominion. 
 
 3. Groups on the comers of the upper part of the mausoleum, 
 each composed of two figures representing one of the virtues 
 and a prophet. The statue of Moses, in the next plate at No. 2, 
 was intended to form a part of one of these groups. 
 
 4. Sarcophagus of Pope Julius II. ; it occupies the middle 
 of the upper part of the monument, ending in a pyramid, with 
 a figure of an angel holding a globe. This engraving is traced 
 from the original drawing, which formerly belonged to Marietti, 
 and came into the collection of Agincourt. The letter M seen 
 on the bottom of the plate is the initial of Marietti, which 
 he placed on all the drawings of his valuable collection. 
 

 
PLATE XLVII. 
 
 OTHER WORKS OF SCULPTURE BY MICHAEL ANGELO BUONAROTI. SIXTEENTH CENTURY. 
 
 1. The drunken Bacchus, accompanied by a young Satyr, 
 group ten palms high. It is one of the earliest works of Michael 
 Angelo, executed in marble for Giacomo Galli, a Roman noble¬ 
 man, in whose house near the Palace S. Giorgeo in Rome it 
 remained for a long period, but was afterwards brought to the 
 gallery at Florence by Cardinal Ferdinando di Medici, where it 
 still is preserved. (Vasari, Vite de’ Pittori, voL iii., p. 200. 
 Müseo Fiorentino, voL iii., pi. li., Iii., and liii., p. 55.) 
 
 2. Moses seated, and leaning upon the tables of the law ; a 
 statue larger than life of the Mausoleum of Pope Julius II., in 
 the Church of S. Pietro in vincoli in Rome. It is now placed 
 at the foot of the monument, but was originally intended for the 
 upper part, it was designed for one of the eight groups of virtues 
 and prophets, which Michael Angelo intended to have placed at 
 the comers over the entablature, as they are shown in No. 3 of 
 the preceding plate. This is considered to be the triumph of 
 Michael Angelo’s genius in Sculpture. (Vasari, Ibid, tom. iii., 
 p. 213. Domenico de’ Rossi, Raccolta di statue antiche e mo¬ 
 derne; Roma, 1704, pi. 154.) 
 
 3. Statue by Michael Angelo larger than life, intended for 
 the lower part of the Monument of Julius II., as seen in the 
 sketch of the whole in the preceding plate ; it now forms, with 
 the three others also designed for the same monument, the deco¬ 
 ration of the grotto at the entrance of the gardens Boboli in 
 Florence. (Cinelli, Bellezze di Firenze; Firenze, 1677, p. 138.) 
 In the large hall of the old palace at Florence is one of the 
 figures of Victory destined for the same monument, with a pri¬ 
 soner at her feet. In France are two other statues, also intended 
 for this monument, of slaves or prisoners. These were given by 
 Michael Angelo to Roberto Strozzi, and by liim to the Con¬ 
 stable Anne de Montmorency, who placed them in the Castle at 
 Ecouen; they were removed from thence to the Chateau of 
 Richelieu in Poitou, and were afterwards placed in the Royal 
 Collection at Paris. (Vasari, Ibid, voL iii., pp. 212, 213. Con- 
 divi, Vita di Michelagnolo Buonaroti, pp. 55, 71.) 
 
 4. Julian di Medici, duke of Nemours, youngest son of 
 Lorenzo the Magnificent, and brother of Leo X. ; he was born 
 in 1478, and died in 1516. This prince, under whose features 
 Michael Angelo wished to represent Vigilance, is sitting in mili¬ 
 tary dress, holding the staff of command, as general of the forces 
 of the Roman Church. This statue, which is of the size of life, 
 is on the mausoleum which Clement VII. erected to this prince 
 in the new sacristy of the Church of S. Lorenzo at Florence, 
 the plans and elevations of which are given in pi. lix. of the 
 Architectural portion of this work ; under this statue of Julian, 
 are the figures of Day and Night, which are very celebrated 
 works of Michael Angelo. (Vasari, Ibid, vol. iii., pp. 236 and 
 240. Cinelli, Ibid, p. 528.) 
 
 5. The Virgin holding the dead Christ on her knees, a 
 group in marble by Michael Angelo ; it was executed for Car¬ 
 dinal Jean de la Grolaye de Villiers, called Cardinal de St. 
 Denis, as he was abbot of St. Denis ; it was first placed on the 
 altar of the Chapel of S ,a - Petronilla, in the old Church of St. 
 Peter, it was then removed to the new Church, and in 1749 it 
 was placed in the first chapel on the right on entering, which 
 since this time has been called della Pieta. Michael Angelo 
 was about twenty-four or twenty-five year's old at the time he 
 executed this group ; it is the only one on which he inscribed his 
 name. (Vasari, Ibid, vol. iii., p. 201. Condivi, Ibid, pp. 14 
 and 69. Torrigio, Sacre Grotti Vaticane, pp. 145 and 531.) 
 
 6. Lorenzo di Medici, duke of Urbino, nephew of Leo X., 
 and father of Catherine di Medici. He was bom in 1492, and 
 died in 1519. He is represented in this statue as in deep 
 thought ; it is called “ il Pensoso.” This monument is placed in 
 the new sacristy of the Church of S. Lorenzo, opposite to that 
 of Julian, described at No. 4. On the sarcophagus are the 
 figures of Morning and Evening, which are given at No. 7. 
 (Vasari, Ibid, vol. iii., pp. 236 and 240. Cinelli, Ibid, p. 534.) 
 
 7. Morning and Evening, figures in marble, larger than life, 
 by Michael Angelo, on the monument of Lorenzo di Medici, 
 duke of Urbino. 
 
 Sculpture N 
 
PLATE XLYII1. 
 
 A GENERAL REVIEW OF TIIE HISTORY OF SCULPTURE BY MEANS OF COINS AND ENGRAVED STONES. 
 
 COINS. 
 
 1. Augustus ; the historical succession, and the care taken 
 by this prince to employ the best Greek artists, entitle his 
 resemblance to the first place on this plate ; first century. 
 
 2. Nero ; through the lines of beauty which distinguish his 
 countenance during his youth, the artist has allowed the ferocity 
 of lois character to appear ; first century. 
 
 3. Titus ; the character of this prince, so opposed to that of 
 his predecessor, is here equally traceable in the style of the 
 work; first century. 
 
 4. Adrian ; the arts which he loved and favoured, served 
 him in the engraving of his medals, which have all grandeur and 
 majesty. The execution is flatter than that of the preceding ; 
 second century. 
 
 5. Marcus Aurelius ; art was sustained under the Antonines, 
 and honoured itself in the resemblance of this most virtuous 
 prince ; second century. 
 
 G. Caracalla ; his sinister expression announces his suspicion 
 and cruelty ; third century. 
 
 7. Agrippina, the mother of Nero ; first century. This coin, 
 of a larger size, shows in every respect the perfection of the 
 best period of art. The character of the head is worthy of the 
 grand-daughter of Augustus, the daughter of Agrippina, and 
 wife of Germanicus. On the reverse is a Carpentum, a kind of 
 open chariot drawn by two mules. The sides of the carriage 
 are ornamented with bas-reliefs ; the figures, although then- 
 size is so minute, are expressed with perfect truth. The inscrip¬ 
 tion on the margin is 
 
 MEMORIAE AGRIPPINAE 
 
 It appears to be the first homage of this kind which was paid 
 to a lady by the Roman senate and people. This medal was in 
 Agincourt's collection ; it was found in the Pontine marshes, 
 and it is very remarkable for its perfect state of preservation. 
 
 8. Domitia, wife of the Emperor Domitian ; her beauty, 
 which has been so discreditably famous, is very evident on the 
 coin; first century. (From the collection of the Abbé Bon- 
 dacca.) 
 
 9. Crispina, wife of Commodus, endowed by nature with 
 the same advantages, equally abused them, and was more cruelly 
 punished. 
 
 10. Address of Nero to his soldiers ; first century. (Æneas 
 Vicus, Primorum XU., Cæsarum imagines.) 
 
 11. Reverse of a coin of Galba, with this inscription :— 
 
 SENATVS POPVLVSQVE ROMANVS OB CIVES SERVATOS 
 
 12. Reverse of a coin of Domitian, from the collection of the 
 Abbé Bondacca, first century, on which is a figure of Pallas, 
 emblem of the qualities necessary for an emperor ; perhaps, also, 
 tliis figure is allusive to the literary works, to which Domitian 
 applied himself in his Albanum. 
 
 13. Gallienus, son and successor of Valerian ; third century. 
 
 14. Probus ; third century. (Tanini, Supplementum ad 
 Bandurii numismata imperatorum Romanorum; Roma?, 1791. 
 pi. iii., p. 171.) 
 
 15. Reverse of the preceding coin. The military talents 
 and virtues of Probus, which he devoted to sustain the empire, 
 gives him rank, notwithstanding the shortness of his reign, 
 among the best of the emperors, and his zeal in the restoration 
 of the school of learning and the arts, render him worthy of the 
 monument consecrated to their protector. The reverse of this 
 medal represents Calliope, the first of the muses, extolling 
 with the lyre the virtues of tliis prince. Although it is certain 
 that the fine arts in general received in the time of Gallien a 
 first and great check, the causes of which are perfectly es¬ 
 tablished by history, we still find some medals of this prince 
 and of Probus, the execution of which are less defective and 
 recall the better times. These medals are probably due to some 
 of those engravers that Gallien charged with the restoration of 
 several of the medals of liis predecessors, a labour which at the 
 same time furnished the opportunity of studying these fine 
 models, and the means of approaching them. (Tanini, Ibid, 
 p. 68, note v. ; p. 177, note i.) 
 
 16. The Empress Helena, mother of Constantine; third and 
 fourth century. Compared with the beautiful heads of the 
 empresses of the first century this is very inferior, and the coins 
 of this empress, as well as those of her son Constantine, announce 
 the decline of art now nearly consummated. 
 
 17. Julianus, devoted entirely to the study of philosophy, 
 did nothing for the arts ; fourth century. 
 
 18. Eudosia, daughter of Theodosius the younger, and wife 
 of Valentinian ; third and fourth centuries. 
 
 19. Reverse of tliis coin, with the inscription :— 
 
 SALVS REIPUBLICAE 
 
 A single glance at the medal of this princess, celebrated for her 
 great qualities, her errors, and misfortunes, the simple aspect of 
 the ornaments of her head and bust, and on the reverse the 
 disposition of the seated figure, sufficiently indicate the prodi¬ 
 gious alteration which costume then underwent, and to which 
 art was forced to submit 
 
 20. Theodoric, king of the Goths ; fifth and sixth centuries. 
 Probably, from the respect felt by this prince for Rome, he 
 caused the head of tliis city to be engraved on the reverse of 
 his medals, and, on the other side, the name of the city in a 
 wreath of laurel. 
 
 21. Athalaric, grandson of Theodoric ; sixth century. Tliis 
 medal, from Agincourt’s collection, has the figure of an armed 
 warrior with the name of AthaJaricus ; it serves, as well as the 
 preceding, to show how, in spite of the efforts made by Theodoric 
 for the revival of art in the West, that it was no less unfortunate 
 than in the East, where we now follow it. 
 
 22. Arcadius, son of Theodosius the Great, first Emperor 
 of the East ; fourth century. This head is laden with an excess 
 of ornaments, introduced by the luxury of those times. 
 
 
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PLATE XLVIII. — (Continued.) 
 
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 23. Reverse of the preceding medal, showing the figure of a 
 warrior placing his foot on a prostrate enemy, with this in- 
 scription :— 
 
 VIRTVS EXERCITI 
 
 neither the form of the head nor the movements of the figures 
 ha T e any of the grandeur of the ancient models, and the want of 
 correctness in the drawing or feeling for art at this period, fore- 
 tel tile barbarous state to which art soon arrived. 
 
 24. The Emperor Zeno, and Leo II., called the young; fifth 
 century. This coin deserves attention only fl-om its size, very 
 uncommon at the time of the decline, and from the name of the 
 city of Rome being on the reverse, the conquest of which city 
 was made easy to Theodoric hy the then unworthy possessor of 
 the throne, Zeno. (Tanini, Ibid, pL is., p. 375.) 
 
 25. Emperor Mauricius; this prince by his virtues was 
 worthy of a better fate ; sixth century. 
 
 26. Reverse of a medal of this period; become poor, the 
 reverses fiequently only contained the date, with the monogram 
 of the emperor or issuer of the coin. 
 
 27. Emperor Heraclius ; seventh century. As the city had 
 become Christian from the time of Constantine, the head of the 
 emperor is adorned with a cross, and other emblems of Chris- 
 tianity. 
 
 28. Leo ni„ called Isaurius; eighth century. This prince 
 proscribed the reverence felt for images; art wandered still 
 further from its principles in this portrait. 
 
 29. Theophilus, son and successor to Michael II. ; ninth 
 century. The emblems of religion are ill-placed in the hands of 
 a prince who so persecuted it. 
 
 30. Reverse of the preceding medal. Barbarism on this 
 reverse extends even to the inscription, the letters of which are 
 half Greek and half Latin, and deformed. 
 
 31. Leo VI., sumamed the Wise, with his brother and 
 successor Alexander ; ninth century. 
 
 32. Constantine Porphyrogenetes, son of Leo the Wise, 
 with his mother Zoe ; tenth century. Notwithstanding that 
 both these Emperors were lovers and protectors of the arts and 
 sciences, the art of engraving medals was at its deepest degra¬ 
 dation in the ninth and tenth centuries, if we may judge by the 
 specimen before us. The sitting figure in the coin No. 31 is 
 represented standing in No. 32 ; the form is hardly b„n,,n on 
 either the one or the other, and the drapery appears rather to 
 be of wood than hanging in folds. The style of these coins is 
 very similar to the inlaid work on the door of St. Paul outside 
 the walls of Rome, given on ph xiil.—xx. This state lasted 
 for nearly the three following centuries. With regard to 
 the composition of the reverses, they generally represent sacred 
 subjects, after the time of the Emperor John Zimisces, who puts 
 the head of Jesus Christ in place of his own in the tenth cen¬ 
 tury. A long while before this Justinian II. had the head of 
 Christ put on the reverse of his coins, a very opposite emblem to 
 the character of this monster of cruelty. 
 
 33. Constantine Ducas, successor of Isaac Comnenus; 
 eleventh century. 
 
 34. Reverse of the preceding coin, with the head of St. 
 George armed with sword and shield. (Banduri, Numismata 
 imperatorum Romanorum, etc. ; Paris, 1718, vol. ii., p. 748 ) 
 
 35. John Comnenus, son of Alexis ; twelfth century. This t 
 
 i prince is represented standing near a seated statue of the Virgin, 
 with outstretched arms in the act of blessing. 
 
 36. Reverse of the preceding. On this we also find the 
 Virgin sitting, addressing three persons, who have short dresses 
 and cowls; John Comnenus, convinced that the success of his 
 . arms was in consequence of the protection of the Virgin, had 
 her image, like some of his predecessors, carried in his triumphs 
 m a car drawn by four white horses. (Banduri, Ibid, vol ii 
 pp. 755 and 756.) 
 
 Isaac Comnenus, a branch of this celebrated family, was 
 represented on his coins with a sword, to which he owed his 
 elevation to the empire. (Banduri, Ibid, vol. ii., p. 747 . Tanini, 
 Supplément à Banduri, pi. x., p. 429.) 
 
 37. Theodore Comnenus II. ; thirteenth century. (Tanini 
 Ibid, pi. xi., p. 437.) 
 
 38. Reverse of the preceding coin; on this, as well as on the 
 coin of Justinian II, we see the head of the Redeemer, with the 
 following inscription :— 
 
 IHSOY2 XPI2T02 EMMANOYHA. 
 
 MEDALLIONS. 
 
 39. Faustina the elder, wife of Antoninus Pius; second 
 century. This head is grand, large, and in a manner worthy 
 the best period of art. 
 
 40. Mars and Rhea Sylvia; this reverse has the same 
 ment as the head, the three figures of which it is formed are 
 beautifully grouped at the foot of the celebrated ruminating 
 fig-tree , and the expression of the figure personifying the Tiber, 
 trusting in whose faith Sylvia sleeps, indicates the action 
 meditated by Mars. This beautifid, but hitherto unknown, 
 medal is drawn in the size of the original, and belonged, as well 
 as Nos. 6, 8, and 12, to Sig. Giov. Battista Bondacca, a Roman 
 advocate. 
 
 41. Gordianus Pins; medallion of the third century. 
 (Buonarotti, Osservazioni istoriche sopra alcuni medaglioni 
 antichi, &e. ; Roma, 1698, pi. xiv, p. 257.) 
 
 42. Reverse of the preceding modal ; this coin is of the third 
 century, and still retains some merit in the composition, but the 
 medallion of Diocletian, at Nos. 44 and 45, though a work at 
 the end of the same century, is of very inferior execution. 
 
 43. Reverse of a Roman medallion, representing Romulus 
 and Remus sucking the wolf. (Tanini, Supplément à Banduri, 
 pi. V, p. 279.) 
 
 44. Head of Diocletian; medallion of the end of the third 
 century. (Buonarotti, Ibid, pi. xxx., p. 374.) 
 
 45. Reverse of this medallion. 
 
 46. Constantine the Great; medallion of the fourth century. 
 
 It will he seen by this head how much art was declining at this 
 period. (Buonarotti, Ibid, pi. xxxiii.) 
 
 47. Reverse of this medallion. (Roma sotteranea, vol. ii., 
 p. 705.) On it are represented the religious emblems which 
 give to this epoch its distinctive character, and which are 
 found in almost all works of art of this time. The inscrip¬ 
 tion, “ Spes publica,” the monogram of Christ, over the banner 
 of the cross placed on the body of the serpent, express 
 all that the universe then hoped from the conversion of the 
 emperor to the Christian religion. We may observe, never¬ 
 theless, that notwithstanding the general decline of art in 
 
PLATE XLVIII.— (Continued.) 
 
 Greece and Italy, these works which were produced in the East 
 and at Constantinople, more than those in Rome, from time to 
 time, show a slight trace of ancient art, the influence of which we 
 recognise in the revival of ait in the thirteenth and fourteenth 
 centuries ; the medallions No. 43 and 44 furnish a proof. 
 
 48. Reverse of another medallion of Constantine. (Tanini, 
 Supplément à Banduri, pi. iv., p. 277.) On it is the symbolic 
 figure of the city of Constantinople, majestically seated, with 
 her foot on the prow of a vessel, in her hand the cornucopia of 
 plenty, and the palm, emblem of victory, placed near her, 
 crowning her : in opposition to this is the reverse of the Roman 
 medallion, No. 43, which represents the fabulous origin of its 
 founders, the composition of which is much less happy. Thus 
 degraded in all its branches, the art of engraving was for a long 
 period rarely employed for medallions. 
 
 49. There is only one example of a medallion of a later 
 period; it appears at the commencement of the fourteenth 
 century, and is here introduced without attaching more value 
 or authority to it than what the obscurity which surrounds it 
 permits. This medallion, which accidentally fell into my hands, 
 is of a yellow metal, and appears rather to have been cast than 
 struck. On the one side is a head crowned, which, like that of 
 the statue of the capitol, representing Charles I. of Anjou, kmg 
 of Naples, and given in pi. xxx., No. 1, appears to resemble it 
 in its features, above all, by the unformed character of the 
 drawing ; and around it is engraved the legend, in barbarous 
 Latin :— 
 
 CARLUS BORBON DUX ANGIO REX NEAPOLIS MCCCXX 
 
 The reverse presents a kind of fleurs-de-lis, five in number, 
 badly disposed and rendered. It is only in the fifteenth century 
 that we commence to see medallions engraved with some merit : 
 the first it is believed commenced in the time of Pope Martin V., 
 who reigned from 1417 to 1431 ; they are the work of that 
 Victor Pisano, called Pisanello of Verona, painter, sculptor, and 
 engraver, who flourished towards the middle of the fifteenth 
 century, and executed portraits in medallions of the most 
 celebrated persons of his age. Of this number is that of 
 Leonello d’ Este, engraved in the next. 
 
 50. Leonello, margrave of Este, duke of Ferrara, Reggio, 
 and Modena, by Victor Pisano. This prince, distinguished by 
 his talents, his taste, and the benefits which he showered upon 
 the arts and letters, honoured with his friendship the celebrated 
 Florentine architect Leo Baptista Alberti, who dedicated to him 
 his philosophical works. (Pompilio Pozzetti, L. B. Alberti 
 laudatus, &c.; Florentiæ, 1789, p. 19, in memorie e documenti.) 
 The singular reverse of this medallion bears the date 1444, and 
 the name of Pisano, with the title of painter, which he 
 delighted to place upon his engraved works, while upon those 
 of painting, he affected to place that of sculptor. The work 
 of this medallion, which comes from the Museum Mazzuchel- 
 lianum, pi. xii., No. 1, shows hardness; the posture of the figure 
 is stiff, but the drawing is not wanting in truth. It was by the 
 study of this fundamental part of art that, in the following 
 century, Alexander Cesari, called il Greco, carried the engraving 
 of medals to the highest degree of perfection ; an attentive 
 examination of ancient medals purified his taste, of which he has 
 
 given a convincing proof in the medallion engraved under the 
 next number. 
 
 51. Reverse of a medallion of Pope Paul in., by Alessandro 
 Cesari, called il Greco ; on it is represented Alexander the Great 
 doing homage to the high priest in the temple of Jerusalem. 
 This allegorical composition is so beautiful and is so excellently 
 well executed, that Michael Angelo when he saw it said, that 
 art could not be carried further, it could in future only 
 retrograde ; an opinion emanating from so high an authority at 
 that period, appears even now without exception. (Vasari, Vite 
 de’ Pittori; Roma, vol. ii., p. 406. Bonanni, Numismata 
 Pontificum Romanoram, vol. i., p. 199, No. 33, and p. 231. 
 Mariette, Traité des pierres gravées, vol. i., p. 128.) 
 
 52. Portrait of Francesco Petrarca, from the medallion in 
 the Mazzuchellianum Museum, and published by Mazzuchelli, 
 vol. i., pi. viii. 
 
 53. Lorenzo di Medici, called the Magnificent and Father 
 of the Muses, engraved on a chalcedony-onyx, by Domenico, 
 called de’ Camei, one of the best engravers of that time: it is in 
 the Museum at Florence. This prince was a great lover of 
 engraved gems, and had his name placed on the stones 
 commanded to be engraved by him, and even of antiques, of 
 which he made a considerable collection—another point of 
 resemblance between him and J ulius Cæsar. His portrait is given 
 here, although it is not, as those which precede it, engraved in 
 bronze, but on a gem—a kind of engraving of which a chrono¬ 
 logical succession is shown in the subsequent numbers. 
 
 ENGRAVED GEMS. 
 
 54. Head of Isis; cameo. (Winklemann, Description du 
 Cabinet de Stosch, classe ii., No. 37. Descrizioni di gemme 
 antiche di Federico Dolce; Roma, 1792, No. 1.) 
 
 55. An Egyptian sparrow-hawk, from an impression from 
 an agate-onyx in the Stosch collection. (Stosch, Ibid, classe L, 
 No. 24. Dolce, Ibid, No. 2.) 
 
 56. Tydeus, one of the seven Greek heroes of the expedition 
 against Thebes, engraved on a scarabeus of comaline; it has 
 the inscription tvte. (Stosch, Ibid, classe iii., No. 174. Dolce, 
 Ibid, No. 174. Winkelmann, Monumenti inediti, pi. xvi., p. 141.) 
 
 57. Diana at the chase, with a stag, from an antique in paste 
 in the Stosch cabinet. (Stosch, Ibid, classe ii., No. 287. Dolce, 
 Ibid, No. 28.) 
 
 58. Head of Jupiter, on a sardonyx in the cabinet at Paris ; 
 Parvusque videri sentirique ingens ; this head expresses all 
 that can be desired in the aspect of the sovereign of gods and 
 men—goodness, serenity, majesty ; the execution is admirable. 
 (Dolce, Ibid, xv. Mariette, Traité des pierres graveés, vol. ii., 
 part ii., No. 2. 
 
 59. Mercury, on a cornaline. 
 
 60. Venus and Cupid, very deeply engraved on sardonyx 
 
 61. Battle of Achilles and the two Amazons who fought for 
 Troy; a deeply cut sardonyx in. the Museum at Florence. 
 (Museum Florentinum ; Florentiæ, 1732, vol. ii., pi. xxxii., p. 77.) 
 
 62. Theseus raising a woman whom he has wounded; a 
 gem in the Museum Famese. (Winkelmann, Monumenti inediti, 
 No. 97, p. 131.) 
 
 63. Achilles weeping over the death of Patroclus. (Win¬ 
 kelmann, Ibid, No. 129, p. 170.) 
 
PLATE XLVIIT. — (Continued.) 
 
 64. Achilles fighting in his chariot ; .antique gem in the 
 Museum at Florence. (Museum Florentinum, vol. ii., pL xxvi., 
 p. 62.) Homer, wishing to paint the brilliant courage of 
 Achilles, says that he caused lois chariot-driver to be placed 
 behind him that nothing might interrupt the play of his weapon ; 
 this thought is happily rendered in the gem, where Achilles, 
 Automedon, the coursers, and the chariot, form an ensemble so 
 perfectly united that the eye recognises but one group flying 
 to victory. 
 
 65. The rape of Europa ; sardonyx antique gem in the 
 Museum at Florence. (Ibid, vol. i., pi. lvii., p. 110.) 
 
 66. Group of a Triton and a Nereid, on an amethyst. (Ibid, 
 vol. ii., p. xlvi., p. 96. Dolce, Ibid, No. 23.) 
 
 67. A female Centaur suckling her son. Lucian has de¬ 
 scribed a picture of Zeuxis representing the same subject, but 
 more extensive, and of which this is only a portion. (Winckel- 
 mann, Monumenti inediti, pi. Ixxx., p. 107.) 
 
 68. A boy taking out a thorn from the foot of a shepherd ; 
 deeply cut onyx in the Cabinet of Crozat; this pastoral subject 
 is beautifully treated in this gem. (Gravelle, Receuil de pierres 
 gravées antiques ; Paris, 1732 and 1737, 2 vols. 4to., pi. lxxxiv.) 
 
 69. The vestal Tuccia, accused of having broken her vow of 
 chastity, proves her innocence by drawing water in a sieve and 
 carrying it from the Tiber to the Temple of Vesta. (Gravelle, 
 Ibid, pi. lxxxviii.) 
 
 70. Head of Julius Cæsar on a comaline; in the Strozz* j 
 Museum. 
 
 71. Romulus and Remus suckled by a wolf; onyx in the 
 Museimi of Florence. (Museum Florentinum, vol. ii., pi. liv.) 
 This subject was frequently treated by the Greek artists to 
 gratify their Roman masters. 
 
 72. Head of Plotina, wife of the Emperor Trajan, on an 
 agate. (Buonarotti, Ibid, p. 24.) 
 
 73. Jupiter, or an emperor offering sacrifice, and crowned 
 by Victory. (Gorlæus, Dactyliotheca, No. 170, p. 25.) 
 
 74. Head of Claudius II., called Gothicus, successor of 
 Gallicnus, on a lapis lazuli. (Dolce, Ibid, No. 177.) 
 
 75. Boar hunt of the Emperor Constantius, on a sapphire in 
 the Rinuccini Museum at Florence. 
 
 76. Head of Alaric, king of the Goths, on a cornaline. 
 (Dolce, Ibid, No. 179.) 
 
 77. Head of Richilda, wife of the Emperor Charles the Bald. 
 
 78. Jonas and the whale; on an emerald. 
 
 79. Head of the Virgin on a jasper, engraved towards the 
 end of the eleventh century, in the time of the Emperor Nice- 
 phorus Botoniates, as shown by the following inscription which 
 surrounds it :— 
 
 ©EOTOKE BOH0EI NIKE OOPri. <MAOKPirm AESnOTH 
 m BOTONIATH 
 
 80. Bust of St. Basilius ; cameo of two colours, a work of 
 modern Greek style. 
 
 81. Portrait of the celebrated preacher Savonarole, engraved 
 
 on a very large and beautiful cornaline, in the Museum at 
 Florence, by Giovanni de’ Comalini, one of the most skilful 
 engravers of precious stones, at the re-establishment of art in the 
 sixteenth century. Around it is this legend ;_ 
 
 HIERONIMVS FERRARIENSIS ORDINIS PRAEDICATORUM PROPHETA 
 
 V1R ET MARTYR. 
 
 (Vasari, Vite de’ Pittori; Roma, voL ii., p. 399. Pelli, Saggio 
 istorico della reale Galleria di Firenze, vol. ii., p. 11.) 
 
 82. Portrait of Ludovico Sforza, surnamed the Moor, duke 
 of Milan, engraved on a chalcedony-onyx, from the Museum at 
 Florence, by Dominico, called de’ Camei of Milan, contem¬ 
 porary and rival of Giovanni de’ Comalini. (Vasari, Ibid, 
 vol. ii., p. 399.) 
 
 83. Sacrifice of a bull, by the same artist, and from the 
 same collection, on a chalcedony-onyx. (Museum Florentinum, 
 vol. ii., pi. lxxv., No. 5.) 
 
 84. Bust of Leo X., engraved on a jade in the same collec¬ 
 tion. It is attributed to Peter Maria di Pescia, or to Michelino, 
 artists who flourished in Rome under his pontificate, and sur¬ 
 passed all those who had preceded them ; to them belongs the 
 glory of completing the restoration of the art of engraving on 
 precious stones. (Vasari, Ibid, vol. ii., p. 399.) 
 
 END OF SCULPTURE. 
 
 Soui.vture O 
 
HISTORY OF ART 
 
 BY 
 
 ITS MONUMENTS, 
 
 FROM its decline in the fourth century 
 
 '*'0 ITS RESTORATION IN THE SIXTEENTH; 
 
 TRANSLATED FROM THE FRENCH OF 
 
 SEROUX DAG INCOURT: 
 
 IN THREE THOUSAND THREE HUNDRED AND THIRTY-FIVE SUBJECTS, 
 ON THREE HUNDRED AND TWENTY-EIGHT PRATES. 
 
 VOL. Ill 
 
 PAINTING-TWO HUNDRED AND FOUR PLATES. 
 
 LONDON: 
 
 LONGMAN, BROWN, GREEN, AND LONGMANS. 
 
 MDCCCXLVII. 
 
INTRODUCTION. 
 
 rTIHE wants and pleasures of man, as well as the natural circumstances which surround him, have contributed 
 with every people to the invention of the art of Painting equally with those of Sculpture and Architecture. 
 This is peculiarly evident with the Egyptians; and their works, being the most durable, have preserved to 
 us the best means of studying the primitive employment of colours. 
 
 The Egyptians made use of painting, as they did sculpture, to give expression to their thoughts, first by 
 simple figures, and then by hieroglyphics or abridged figures, which, by a further alteration, became letters or 
 alphabetic characters. 
 
 The art of painting, properly so called, that is, to give to objects drawn on a flat surface an appearance of 
 relief by the aid of gradations of colours, and effects of chiaro-scuro and perspective, does not appear to have 
 been known to the Egyptians. The difficulties peculiar to this art caused it to remain in their hands much less 
 perfect than that of sculpture. 
 
 We have not any very positive notions on the painting properly called Etruscan, for we are scarcely 
 acquainted with the origin of the people to whom the works of this class are supposed to belong. The religious 
 and heroic fables represented on the vases called Etruscan, are, for the most part, common to the Greeks. 
 Amongst the possessions of the Etruscans, in Italy, were the countries inhabited by the Greeks, and known as 
 Magna Græcia ; the power and even the existence of this people were so absorbed by the domination of the 
 Romans, that the souvenir scarcely exists—we are not acquainted with any monument, or at least any painting 
 of incontestible Etruscan origin, or which is anterior to the destruction of this nation. 
 
 The writers of antiquity do not supply this want of the productions of Etruscan painting by any memorial of 
 the art. The only figures which can be attributed to the Etruscans, are some remains on the pillars which support 
 the tombs of the ancient Tarquinia, the principal city of Etruria ; they belong to a very early period, as they 
 served for deposing the bodies of the dead, a usage which was anterior to that of burning them, afterwards 
 adopted by this people, but it is difficult to fix the precise epoch with precision. 
 
 These paintings resemble very much the works of the Egyptians, and are far from possessing the grace which 
 characterises the paintings on the vases, works of the Greeks themselves, or of the Etruscans, instructed by them, 
 and working in their studios. The compositions on these vases are always in conformity with the rites and 
 religious customs of the Greeks, and embellished with ideas brilliant and gay ; whilst the subjects painted on the 
 tombs of Tarquinia, as those which are sculptured on the funeral urns of Etruscan origin, belong to the sombre 
 theology of this nation, so sadly and cruelly superstitious. 
 
 Through Pliny we are better acquainted with the history of painting amongst the Greeks than amongst the 
 Egyptians or Etruscans. With the Greeks only this art, like all other human inventions, rose to the highest 
 possible degree of perfection, as the Greeks only united all that was requisite of physical and moral qualities. 
 
INTRODUCTION. 
 
 Whether invented in Sicyone or Corinth, painting was allowed in Greece to have commenced by circum¬ 
 scribing the shadow of a man by a continuous line, “ umbra hominis lineis circumducta.” In placing some lines 
 in the field thus formed, the different parts were distinguished, which were afterwards painted but of a single 
 colour, monochamaton. Imitation making further progress, the figures were painted with different colours, 
 imitating the lights and shadows ; and the opposition of the colours produced a peculiar effect, or tone, and 
 afterwards came the fusion of colours or union. This state of painting, although only in its first elements, yet 
 took a route much more sure than amongst other nations. 
 
 It is at the time of Phidias that the history of the art of painting should properly commence ; and if, 
 as it is believed, this greatest of sculptors also occupied himself with painting, cultivated by his two 
 brothers, he certainly made use of his profound knowledge of drawing, the principal source of truth, for painting 
 as for sculpture. 
 
 As for the other parts of the art, without neglecting the discoveries made a few years after by Polygnates, we 
 can give a more certain and more important place to the progress which it made in the hands of Apollodorus, 
 Parrhasius, and Zeuxis, contemporaries and celebrated rivals, preceding by half a century Alexander, who was 
 destined to enjoy all the arts in their state of perfection. 
 
 Pliny informs us how these painters successively contributed to the perfectioning of the art of drawing and 
 colouring ; and in following the natural order of their inventions he thus forms the chronology of art. 
 
 Apollodorus gave rules for rendering forms—“ Species exprimere instituit. 
 
 Parrhasius was the first to seek symmetry—" Parrhasius primus symmetriam picturæ dédit and taught the 
 secret of rounding bodies in rendering with care the extremities—“ ambire enim debet se extremitas ipsa, et sic 
 desinere ut promittat alia post se, ostendatque etiam quæ occultât.” 
 
 Zeuxis found art at this point, and caused it to acquire a still more rapid glory—“ artes fores apertas intravit, 
 audentemque jam aliquid, penicillum ad magnam gloriam perduxit.” Pliny relates how this painter was able to 
 render true beauty of form in a picture which he painted amongst the Agrigentines, because he obtained from 
 them permission to study the finished forms which nature had distributed to the five most beautiful virgins of 
 their town. 
 
 This is sufficient to prove to us that Zeuxis was the first to acquire the knowledge and practice of the 
 bean-ideal, which is nothing but a reunion of elements found here and there, and seized from various models. 
 Sublime principle and wonder of art ! It is by this means that the antique school has sometimes shown in these 
 works a perfection superior to nature herself. 
 
 The contemporary painters with Zeuxis, or his immediate successors, perfected the art in its different details. 
 
 Timanth augmented the value of his compositions by the charm of the ingenious ideas with which he 
 enriched them. 
 
 Pamphiles united to the studies peculiar to painting that of geometry and the sciences. It is said that he 
 made use of encaustic, a kind of painting, the inventor of which is unknown, and that he taught the process to 
 Pausias, the most celebrated of those who have practised it ; but that which does the greatest honour to 
 Pamphiles, is to have been the master of Apelles. Under these skilful painters the taste for the fine arts spread 
 more generally than it had hitherto done throughout Greece. It formed a part of the education of children of 
 every class. At the same time Protogenes distinguished himself by the finish of his works. 
 
 Aristides arrived at* a still greater elevation by his success in the part of painting which most addresses the 
 soul—expression. This was much for the glory of art ; but there was still wanting what makes the charm of a 
 picture. Apelles obtained this last triumph ; it was in colouring, by the invention of a glazing or varnish, 
 perhaps equivalent or nearly so to oil, and by that portion so dear to sentiment grace. 
 
 It is well known what value Alexander attached to his labours. The moral qualities of this artist appear to 
 have been the chief sources of his talent; his modesty equalled his merit; even his rivals were attached to 
 him. It is sufficient to excuse the apparently exaggerated praises of Pliny, and to exhibit him as worthy of the 
 supreme rank in which he has placed him. 
 
 Apelles rendered to painters and lovers of painting, by the exposition of his principles, a service as eminent 
 as he had done by his examples : he published a treatise on his art. A few years later Euphranor composed 
 another on proportion and on colours. Works of this nature ought to convince us that painting had at that 
 period nothing to be desired either in the practice or theory. Such perfect masters do not write till they 
 have acquired the conviction of the excellence of their principles by a long and learned experience. 
 
INTRODUCTION. 
 
 The art, sustained by these wise precepts arid by such fine models, maintained itself in all its brilliancy 
 during more than one hundred years. After having honoured the age of Alexander, it flourished under 
 some of his successors, and only began to decline in the following century. It was then seen to weaken, 
 and at last fall by the revolution which rendered the Romans masters of Greece. The conquerors transplanted 
 to Rome the paintings and the painters. It is, therefore, amongst the Romans that we must now direct our 
 attention in following the history of painting. 
 
 Led away by his love of country, Pliny wishes to make it appear that at the period when painting was 
 cultivated in Italy by the Etruscans alone, it had already surpassed the productions of the Greeks ; he assures 
 us that at the period of the elder Tarquin it had arrived at a high degree of excellence, but as a proof of this he 
 only cites some works executed by a painter of Greek origin, in the Temple of Ardea, a city existing previous 
 to Rome. It is therefore from Greece, in passing through Etruria, that this art reached the country where the 
 Romans were established. 
 
 Distracted by occupations of a very different character, little favouring the cultivation of the fine arts, these 
 conquerors of the world could have no influence on the invention, properly so called, of anything belonging to 
 painting. 
 
 After the first emigrations which drew the Greek artists to Italy, it was from Sicily, where other Greek 
 colonies had furnished a great number, that Rome was supplied with artists. 
 
 We find nothing indicating the existence of Roman painters, neither at the early period of which Pliny 
 speaks, nor later, when, in wishing to prove the antiquity of painting amongst the Romans, this writer relates how 
 in the year 450 of Rome, Fabius Pictor, who gave his surname to an ancient family, executed in the Temple of 
 Health several paintings preserved until the fire under the Emperor Claudius. In the following century, 
 Pacuvius, painter and poet, born in Brindes, a city of Magna Græcia, nephew of Ennius, adorned with his works 
 the Temple of Hercules, in the forum Boarium, and he increased the effect of his dramatic works in painting 
 himself the decorations of his theatre. “Clariorem earn artem fecit gloria scenæ.” —Pliny, lib. xxxv., cap. 4. 
 
 The historian observes that after Pacuvius, painting was no longer cultivated in Rome by such illustrious 
 hands. Cicero also before him had complained of this indifference, and foresaw the unfavourable effect that this 
 would have on taste. 
 
 Everything proves that whenever any interesting work of this kind was seen in Rome, it was from foreign 
 hands, that is, Greek. Such was the picture which Marcus Valerius Messala had placed in the Curia hostilia, 
 and in which he had painted the victory obtained by him in Sicily over the Carthaginians and the King Hieron : 
 such was that which Lucius Scipio suspended at the capitol, representing his victories of Asia. Lucius Hostilius 
 Mancinus imitated this example, and exposed, in the forum, a picture where he was represented ascending the 
 first to the assault of Carthage ; he even himself gave the description where the different combats had taken 
 place, an act of popularity by which he afterwards gained the consulate. 
 
 It appears, however, that if the Roman artists did not imitate the productions of a foreign art sufficiently 
 well to have their names handed down to us, the arts at least furnished them sufficient attraction to receive from 
 them some application to the art of painting. This was the case when Lucius Mummius, after the conquest of 
 part of Greece, deposited in the Temple of Ceres the picture of Aristides, called the beautiful Bacchus, for 
 which the King Attala had offered six hundred thousand sesterces. The importance which Pliny attaches to 
 fixing this period ought to persuade us that from this time dates the establishment of a Greek school in Rome. 
 
 The masterpiece of Aristides became the model of good taste, and from this moment doubtless the artistic- 
 education was directed by these same Greek artists that the Romans had first carried with them as slaves to 
 Rome, and afterwards freed. 
 
 These proud Romans soon placed over their children, as instructors, the Greeks, who united to the art of 
 painting philosophical acquirements. Such was Metrodorus, to whom Paulus Emilius confided the education of 
 his children. 
 
 From that time the relations between the Greeks and Romans, for the study of letters and fine arts, never 
 ceased. To the first Greek masters were united the artists formed since the conquests in the schools of the 
 islands of the Archipelago, and in Asia Minor. Ideas of fortune and glory called them to Rome, that immense 
 city full of the treasures of all the conquered nations, and soon accustomed to their luxury. 
 
 In the number of these artists was that celebrated woman Lala, who was born at Cyzicus, came to Naples, 
 and then established herself in Rome, in the time of Varro. The velocity of her hand, united to real talent, 
 
INTRODUCTION. 
 
 excited such admiration that her pictures exceeded in price those of Sopolis, Dionysius, and others of the most 
 celebrated painters of her time. Lala had several pupils in Rome. Another woman, Olympias, flourished at 
 the same period and had for disciple Aristrobulus. It was at these schools that the Roman painters first 
 studied. 
 
 The men the most distinguished for their learning, eloquence, and urbanity, Varro, Hortensius, Cicero, 
 Atticus, took infinite pains to form collections of paintings and drawings of the Greek artists; they filled their 
 country-houses with them, which became so many museums. 
 
 Fond of all that nature, the arts, and glory offered of most attractive, Cæsar took the same care. 
 
 Augustus covered the walls of the forum and senate-house with pictures. Either the leisure incidental to 
 peace, which the empire enjoyed under his reign, established naturally the taste for the fine arts, or that it had 
 already become a fashion in all orders of the state as in our time, Turpilius, a Roman noble, was seen, as in the 
 time of Fabrius, studying painting and adorning Verona with his works. 
 
 Quintus Pedius, born dumb, and grandson of a consul, was instructed in painting by the express desire of his 
 family and command of Augustus. 
 
 The painter Amulius, always grave in his exterior, according to Pliny, worked without quitting the toga— 
 “ Pingebat togatus and he preserved, even on the scaffolding, the dignity of which every Roman citizen 
 was jealous. 
 
 Others, such as Cornelius Pinus and Accius Priscus, worked under Vespasian in the Temple of Honour 
 and Virtue. 
 
 Everything united in favouring the spreading of the arts in Rome. The praises which Pliny lavished on the 
 works and genius of the Greeks should at least have contributed to develop the talent, if success had been 
 possible ; but the immoderate use of riches, the caprices of the great, the abuse of absolute power, precipitated 
 at the same time good morals and the fine arts. 
 
 When men desire to do and can do everything, bad taste is the result of the variety of their desires. These 
 moral causes exercised their influence on painting, even before the fine age of Augustus had expired. The 
 luxury, which was not that of the state but of the people, enriched voluptuousness, nonchalant idleness, led 
 to a universal decline. 
 
 This is sufficiently proved by Pliny, who, after having recalled the great and worthy objects on which art 
 had exercised itself during the preceding centuries, describes the trivial, ridiculous, and unworthy scenes 
 which in his time had taken place. It is sufficient, said he, in terminating the recital of the aid which painting 
 had afforded to the public mind; “it is sufficient on the dignity of an expiring art”—“ Hactenius dictum sit de 
 dignitate artis morientis.” 
 
PAINTING. 
 
 FIRST PART. 
 
 THE DECLINE OF PAINTING FROM THE SECOND TO THE 
 FOURTEENTH CENTURY. 
 
 Painting A 
 
PAINTING.—PL ATE I. 
 
 A SELECTION FROM SOME OF THE FINEST ANTIQUE PAINTINGS KNOWN. 
 
 1. Cassandra foretelling the fall of Troy to Hecuba, who is 
 sitting attended by her son and two daughters ; painting on a 
 vase found on an island in the Archipelago. (Collection des 
 vases Etrusques du Chevalier Hamilton ; Naples, 1766, voL i., 
 pL 71, and vol. ii., p. 164.) Winklemann is of opinion that the 
 subject represented on this vase is an interview between Her¬ 
 cules and Omphale, queen of Lydia. 
 
 2. The celebration of a ceremony connected with the mystical 
 worship of Bacchus (Ibid, vol. ii., p. 37, and vol. iii., p. 131); 
 or, according to Passeri, the marriage of Hercules and Hebe. 
 (Picturæ Etruscorum in vasculis, vol. i., pL viii, p. 9.) 
 
 3. A combat between an Arimaspe, or Amazon, and two 
 Griffins. (Vases Etrusques d’Hamilton, vol. ii., pi. iv., p. 56.) 
 
 4. Dance of Cupid and the Graces, or a domestic sacrifice, 
 according to Passeri. (Picturæ Etruscorum, etc., vol. i., pi. lix., 
 p. 76.) D’Hancarville, whose opinion appears better founded 
 and more ingenious, recognises the union of Cupid and the 
 Graces. (Vases Etrusques d’Hamilton, vol. iv., pi. lxxxi., p. 57.) 
 
 5. The leader of a mystic dance. (Ibid, vol. i., pi. cxvii., and 
 vol. ii., p. 166.) 
 
 6. An ancient fresco painting, commonly called the Aldo- 
 brandini marriage ; according to Winkelmann, the marriage of 
 Thetis and Peleus is represented. It was discovered during the 
 reign of Pope Clement VIII. in the neighbourhood of the 
 Baths of Titus. (Monumenti anticlii inediti, part i., chap, xix., 
 
 p. 60.) 
 
 7. Head of the bridegroom, full size, from the Aldobrandini 
 marriage. He sits at the foot of the bed, crowned with vine 
 leaves. 
 
 8. Head of the bride, full size. 
 
 9. Orestes recognised by his sister Iphigenia (Pitture 
 
 d’Ercolano ; Napoli, 1757, vol. i., pi. xi., p. 55); or, according 
 to another interpretation, actors listening to the reading of a 
 drama. 
 
 10. Theseus receiving the homage of the Athenian youth, 
 after having killed the Minotaur. (Ibid, vol. i., pi. v., p. 21.) 
 
 11. Nymphs tending Pegasus. (Bellori, Pitture antiche del 
 sepolcro de' Nasoni ; Roma, 1680, pi. xx.) 
 
 12. Five young girls playing with knuckle-bones; a mono¬ 
 chromatic painting on marble, found at the excavation of Resina. 
 (Pitture d’Ercolano, vol. i., pi. i.) A knuckle-bone of a lamb 
 was found by Agincourt in the Catacomb of St. Saturninus, and 
 Caylus mentions one which appears to have been used in the 
 same game, but of ivory. (Recueil d’ Antiquités, vol. iii., 
 pi. lxxxiv., No. 4.) 
 
 13. Ulysses presenting himself to Penelope; or, according 
 to Visconti, Paris and Helen ; a painting found in the excavations 
 of Gragnano. (Pitture d’Ercolano, vol. iii., pi. vi.) 
 
 14. A Bacchante and a Faun executing a bacchanalian 
 dance. (Ibid, vol. v., pi. xxxvi.) 
 
 15. Narcissus admiring his reflection in the water, whilst 
 Cupid throws down his torch in sadness. (Ibid, vol. v., pi. xxviiL) 
 
 16. The Scythian sharpening his knife to flay Marsyas. 
 
 17. The young Olympus imploring mercy of Apollo for his 
 preceptor Marsyas. 
 
 18. Marsyas boimd to the fatal tree to be flayed according to 
 the command of Apollo. The last three fragments of ancient 
 paintings, in natural colours on a gold ground, were found in 
 the Hospital de’ Mendicanti near the Temple of Peace in 
 Rome, about the year 1740. They formed part of Agincourt's 
 collection until sent by him, with four others, to the museum at 
 Paris. 
 

PLATE II. 
 
 FIRST STAGE IN THE DECLINE OF ANCIENT 
 
 1 . A Pompeian painting, representing a larder with fish, 
 asparagns, and bread. (Pitture d'Ercolano, vol. t„ pi. cclxxvii.) 
 
 2. A country house on the sea shore. (Ibid, vol. iy„ p. 147 .) 
 
 3. A view on the banks of the Nile, with Egyptian idols 
 and crocodiles. (Ibid, vol. i„ p. 253.) The peasant puffing a 
 loaded ass by the tail, in order to save him from the jaws of a 
 crocodile, forms a group full of naivete. 
 
 4. Battle or game of Pygmies. (Ibid, vol. i„ p. 305.) See 
 what Caylus says, in reference to paintings of this class, on the 
 influence which these grotesque Egyptian figures had on the 
 taste of the Romans for arabesque. (Recueils d'Antiquités, 
 vol. iv., pi. nix., No. 20, pp. 57, 58.) 
 
 5. Various birds (Pitture d'Ercolano, vol. ii., p. 153 .) 
 
 6 . A shoemaker in his shop. (Ibid, vol. iii„ p. 221.) 
 
 A table with coins, writing materials, a roll of papyrus, 
 and two books. (Ibid, vol. v., p. 315 .) 
 
 8 . A pastoral subject, from the Baths of Titus. (Le 
 Antiche Camere delle Terme di Tito, e le loro Pitture restituée 
 al Publico da Lndovico Mirri; Roma, 1776, in fol., pi. nviii., 
 p. 54.) 
 
 9. Harvest labours. (Ibid, pi. xnü, p. 64.) Prom the 
 Baths of Titus. 
 
 10. A game at ball, probably the same called by the 
 ancients “ Pila trigonalis;” a favourite amusement before the 
 bath. (Ibid, pi. jcviii., p. 52.) 
 
 PAINTING. ARABESQUES AND CARICATURES. 
 
 j 11. A grotesque painting, found in 1760, in the excavations 
 of Gragnano, near Naples, probably intended to represent the 
 filial and paternal piety of Æneas in caricature. (Pitture 
 d’Ercolano, vol. iv., pp. 166 and 367.) 
 
 12. The interior of a coppersmith’s shop. (Ibid, vol. iii., 
 pp. 217, 221.) 
 
 13. Part of a grotesque architectural decoration, found at 
 Portici. (Ibid, vol. iv., p. 289.) 
 
 14. The shaft of a pillar in the form of a candelabra. 
 (Ibid, vol. ii„ p. 263.) 
 
 15. Part of an architectural decoration, with fantastic 
 arabesques. (Ibid, vol. v., p. 365.) 
 
 16. A pillar in tile form of a reed growing from a base, 
 surmounted by an entablature in the same capricious style. 
 (Ibid, vol. iii., p. 299.) 
 
 17. A building supported by columns crowned with a 
 pediment, the forms and proportions of which are as entrava- 
 gant as those of the four preceding subjects. 
 
 One looks in vain in these bizarre compositions for principles 
 or application of the rules of art; we see but the results of a 
 disordered imagination, which trifles with forms the most severe, 
 and abandons itself to every caprice. Vitruvius speaks with 
 great force against these wanderings, which he considers, with 
 reason, as most pernicious to good taste. (Vitruvius, book viii., 
 
 | chap, v.) 
 
PLATE HI. 
 
 ARABESQUES AND CARICATURES CONTINUED. 
 
 An ancient fresco painting, found in the year 1181, in the ruins of a subterranean chamber in the 
 garden of the Villa Pamfili at Rome. 
 
 The principal figures in the above composition, full size. 
 
 Fragments of other paintings found in the same chamber, collected by M. CM* a French architect, 
 and carried by him to Paris. 
 
PLATE IV. 
 
 PAINTINGS FOUND IN THE RUINS OF THE BATHS OF CONSTANTINE. FOURTH CENTURY. 
 
 1. Head of a female figure, traced from the original. 
 
 2. View of a marshy tract, enlivened by country houses, 
 animals, and pigmies. (George Turnbull, A Treatise on Ancient 
 Painting; London, 1740, in fol., pi. xli.) 
 
 3. Head of a nymph, No. 12. 
 
 4. Two fish; one appears to be a red mullet, the other a 
 kind of shell-fish. (Ibid, pi. xlv.) 
 
 5. Three Cupids. (Ibid, pp. 38, 39, and 40.) 
 
 6 . A view on the banks of a river, with temples and other 
 buildings ; this, and also No. 2, are in the same style as many of 
 the paintings found at Herculaneum. (Ibid, pi. xxxv.) 
 
 7. A fragment of three figures ; subject unknown. 
 
 8 . The Pythian Apollo with his bow. (Ibid, pi. xxxvii.) 
 
 9. Another figure of Apollo holding a lyre. (Ibid, pi. xxxiii.) 
 
 10, 11, 12. Dancers or nymphs, forming part of an arabesque. 
 (Ibid, pi. xlii, xxxi., xxxii.) 
 
 13. A figure, apparently representing a traveller. (Ibid, 
 pL xlvi.) 
 
 14. A painting found in 1710 in the Baths of Constantine. 
 (Bellori, Picturæ antiquæ, etc. ; Romæ, 1791, appendix, pi. xiii., 
 p. 96.) 
 
 15. Another painting from the same baths. (Turnbull, 
 pi. xliii.) 
 
 16. Figure of a nymph from the same place. (Ibid, pi. xlvii.) 
 
 17. The Pythian Apollo, full size. 
 
 18. A dancer or Bacchante, full size. 
 
 Painting B 
 
PLATE V. 
 
 PAINTINGS FOUND IN THE SEPULCHRE OF THE NASONI FAMILY AND OTHER PAGAN CATACOMBS. 
 PAINTINGS EXECUTED IN CHRISTIAN CATACOMBS. 
 
 1. Ground plan of the tomb of the Nasoni family, which 
 was discovered in 1674 at a place called the “ Grotte Rosse,” 
 about two miles from Rome, on the Via Flaminia. It is hewn 
 out of the rock, and is about forty palms in length and twenty 
 in breadth. (Pitture antiche del sepolcro de’ Nasoni uella 
 Via Flaminia discgnate ed intagliate degli antichi originali 
 da Pietro Sante Bartoli, descritte ed illustrate da Giov. Pietro 
 Bellori; Roma, 1680, in fol., pi. ii., p. 9.) 
 
 2. The elevation of the entrance of the same tomb, cut out 
 of the rock, as are also the Corinthian pilasters which decorate 
 the doorway. (Ibid, pi. i., p. 9.) 
 
 3. Wall of the tomb opposite the entrance; the painting 
 in the centre is supposed to represent Ovid and his wife Perilla 
 led by Mercury and Erato. (Ibid, pi. iv.) 
 
 4. The right side of the interior, decorated like the pre¬ 
 ceding with paintings of mythological subjects, chiefly relating 
 to the reception and condition of souls in the Elysian fields. 
 (Ibid, pi. iii., p. 9.) 
 
 5. Large compartment in the centre of the vaulted ceiling 
 of the tomb, decorated with paintings representing Pagasus and 
 the seasons, with the chase and other analogous subjects, united 
 by ornaments and arabesques. (Ibid, pi. xxi., p. 33.) 
 
 6 . Another part of the same vaulted ceiling. There were 
 two similar compartments on either side of the centre No. 5 ; 
 this one alone has been preserved. In the middle are bacchantes; 
 on one side a horse traversing a river, and on the other the 
 Judgment of Paris. (Ibid, pi. xxi., p. 33.) 
 
 7. The vaulted ceiling of a subterranean chamber, discovered 
 on Mount Cœlius, near the Church of S. Stefano Rotondo at 
 Rome. (Pictiu-æ antiquæ cryptarum Romanorum et sepulcri 
 Nasonum, delineatæ et expressæ ad archetypa a Petro Sancti 
 Bartholi et Francisco ejus filio, descriptæ vero et illustrate a 
 Johanne Petro Bellorio et Michaele Angelo Causseo; opus 
 latine redditum, proditque absolutius et exactius cum appendice 
 nunquam édita; Romæ, 1750, in fol. fig., pl. xiv., p. 36.) 
 
 8 . The entrance of a tomb, excavated in the tufo, from a 
 chawing by Pietro Sante Bartoli, both situation and name 
 unknown. (Ibid, pl. i., p. 69.) 
 
 9. Interior of the same tomb. The walls and ceiling of this 
 tomb are decorated with paintings. (Ibid, p. 69.) 
 
 10. A landscape painted above the niche at the end of the 
 same tomb. (Ibid, pl. iii., p. 70.) 
 
 11. Birds and beasts, painted in different parts of the same 
 tomb. (Ibid, pl. iii., p. 70.) 
 
PLATE VL 
 
 PAINTINGS FROM VARIOUS SEPULCHRES AND CHRISTIAN CATACOMBS. SECOND CENTURY. 
 
 1. The painted ceiling of a sepulchre in a catacomb on the 
 Via Latina, representing the “ Good Shepherd ” and other sub¬ 
 jects taken from both Old and New Testament. (Aringlii, Roma 
 subterranea, tom. ii., p. 25.) 
 
 2. Painting of a sepulchre in the Catacomb of Priscilla 
 on the Via Salara. It represents the “ Good Shepherd,” one of 
 the most favourite symbols, of the early Christians. (Ibid, 
 vol. ii., p. 293.) 
 
 3. Orpheus charming animals by the sound of his lyre, 
 one of the allegories used by the early Christians; a painting 
 on the vaidts of a sepulchral chamber in the Cemetery of St. 
 Calyxtus. (Ibid, voL i., p. 547. Bosio, Roma sotteranea, 
 pp. 239 and 627.) 
 
 4. Painting found in a niche of the Catacomb at Priscilla. 
 (Ibid, vol. ii., p. 253.) 
 
 5. A painting of the same form from the Catacomb of St. 
 Marcellinus and St. Peter ad duas Lauros, on the Via 
 Labicana. (Ibid, vol. ii., p. 119.) The centre is occupied 
 by an agape or love feast. Bottari, in his “ Roma sotterranea,” 
 with reference to this painting, enlarges very much on the 
 eating-rooms, the tables, and the utensils used by the ancients ; 
 also upon the two following inscriptions placed over the painting: 
 
 CAU)A vu$cf. W/ _ 
 
 6. Ornaments, arabesques, &c., in the subterranean apart¬ 
 ments of the Baths of Titus. 
 
 7. A female Centaur carrying a young Bacchante ; found at 
 the excavations made in 1704 at Civita, near Torre dell’ 
 Annunziata. (Pitture d’Ercolano, vol. i., pi. xxvi., p. 14.) 
 
 8. A female Centaur and youth with cymbals, found at the 
 same place. (Ibid.) 
 
 9. A woman holding a lyre, from No. 16. 
 
 10. A woman in a similar attitude, from a painting at 
 Herculaneum. (Ibid, vol. iii., pi. xxvii., p. 139.) 
 
 11. A female Centaur suckling her young one, from an 
 antique engraved stone. (Wincklemann, Monumenti antichi 
 inediti, voL i., pi. Ixxx., vol. ii., pi. evii.) 
 
 12. The entrance of an ancient sepulchre, discovered by 
 I Agincourt in 1783, in an aqueduct near the Porta Pinciana 
 I outside the walls of Rome, at a place called Le tre Madonne. 
 
 13. Ground plan of the tomb. 
 
 14. Transverse section of the same. 
 
 15. Paintings of figures and arabesques on the walls of the 
 tomb. 
 
 16. Paintings on other parts of the same tomb. The subjects 
 of this and the four preceding numbers have become very 
 interesting, as they are not engraved in any other work, and 
 the tomb has fallen in since the drawings were made. 
 
PAINTINGS DISCOVERED ABOUT THE YEAR MDCCLXXIX, IN PART OF THE CATACOMB OF PRISCILLA. 
 
 SECOND CENTURY. 
 
 7. Another section of the upper part, giving the form of the 
 semicircular niches, reserved for the urns and inscriptions called 
 Tituli. 
 
 8. One of the niches, containing an ura. 
 
 9. Inscription under one of the niches. 
 
 10. A broken slab of marble pierced in the form of a lattice, 
 covering one of the windows of the catacomb. 
 
 11. A similar marble slab closing the lower part of a semi¬ 
 circular niche. 
 
■■■MH 
 
 ■\ ANVAR I OS 
 
 !»' ; 
 
 
 ■'f///,:,■ //,v/r>afc 
 
PLATE VIII. 
 
 PAINTINGS FROM THE CATACOMBS OF ST. SATDRNINUS AND ST. CALIXTUS. 
 LATTER PART OF THE THIRD CENTURY. 
 
 1. Head of a woman praying, from a tracing of the original ; the entire figure is given under the following number. 
 
 2. Part of a chapel in the Catacomb of St. Satumhma, with ornaments between the monumental inscriptions ; also 
 two female figures praying. 
 
 3. A very similar subject on the front of a tomb in the Catacomb of St. Cali*,us near the Basilica of St. Sebastian 
 outside the walls of Rome. 
 
 4. The Good Shepherd tending his flock, a landscape painting in the same catacomb. 
 
 5. Part of a painting in the same catacomb, representing a discussion. (Aringhi, Roma snbterranea, vol. i„ p. 527, 529.) 
 
 6 . Fragment of a painting, representing a knight on horseback, from the same place. 
 
 Painting C 
 
PLATE IX. 
 
 PAINTINGS, FROM THE CATACOMBS OF ST. MARCELLINDS, OF THE CRUCIFIX AND OF S. LORENZO. 
 FOURTH AND FIFTH CENTURIES. 
 
 1. Adam and Eve at the tree of knowledge ; a painting in 
 one of the chapels in the Catacomb of St. Marcellinus and St. 
 Peter on the Via Labicana. (Aringhi, Roma subterranea, 
 vol. ii., pp. 108-111.) 
 
 2. Head of Eve, traced from the original. 
 
 3. Head of Adam, traced from the original 
 
 4 Moses st riking the rock; another painting in the same 
 catacomb. 
 
 5. Head of Moses, traced fr om the original. 
 
 6 . Head of the figure given under the following number, 
 traced from the original. 
 
 7. A figure painted on the wall of the same catacomb, from 
 Agincourt’s collection. 
 
 8 . Painting on the vault of a chapel in the Catacomb of S. 
 Lorenzo outside the walls of Rome ; discovered in 1780. 
 
 9. Ground plan of one of the chapels in the Cemetery of the 
 Crucifix, forming part of the great Catacomb of Priscilla, near 
 the Ponte Salaro ; it is one of the best constructed and most 
 richly decorated known. 
 
 10. Longitudinal section of the same chapel, with the details 
 of some of the ornaments in stucco and marble. 
 
 11. The ornament on one of the semicircular niches in the 
 same chapel 
 
 12. Various subjects from the Old Testament painted in the 
 Cemetery of the Crucifix. 
 
 13. Paintings on the vaults of the same chapel. 
 
 14. Other paintings from the same. 
 
 15. Paintings from the vault of a chapel in the same Ceme¬ 
 tery of the Crucifix; discovered in 1772. 
 
_ 
 
PLATE X. 
 
 PAINTINGS IN THE CEMETERY OF S. PONZIANO AND OTHER CATACOMBS. 
 SIXTH, SEVENTH, AND EIGHTH CENTURIES. 
 
 1. Plan and section of a chapel in the cemetery of the 
 Church of S. Ponziano, measuring about ten palms in length 
 and width, and fifteen in height. (Aringhi, Roma subterranea, 
 vol. i., p. 385.) This catacomb is near the Porta Portese in Rome, 
 and was excavated under a hill called Monte Verde, on the right 
 bank of the Tiber. The hill is formed of yellow sand, which has 
 given to these subterranean vaults the name of Arenariæ. 
 
 2. Painting on the semicircular niche, Monumentum Arcu- 
 atum, occupying the end of the chapel. (Ibid, vol. i., pp. 386 
 and 387.) 
 
 3. Ornaments on the vaulted roof of the same chapel. The 
 Good Shepherd is represented in the centre, and the seasons, 
 divided by figures and garlands of leaves at the sides. (Ibid, 
 vol. i., pp. 387 and 389.) 
 
 4. Portraits of St. Marcellinus, St. Paul, and St Peter, 
 painted in a chapel of the same catacomb. 
 
 5. Head of St. Marcellinus, traced from the original. 
 
 6. Head of St. Peter, traced from the original. 
 
 7. Another painting in the same chapel, of a cross and two 
 saints; one is St. Pygmenius, who suffered martyrdom in the 
 reign of Julian the Apostate ; the name of the other is unknown. 
 (Bosio, Roma sotteranea, pp. 127 and 135.) 
 
 8. John baptising Christ in the river Jordan, a painting in 
 the small chapel called “ Capella del Baptisterio,” in the same 
 catacomb. Underneath them is a painting of one of the crosses, 
 set with precious stones called “ Gemmatæ,” with the symbols of 
 the Redeemer A and fl suspended from the arms of the cross. 
 There is no doubt that this chapel was especially used by the 
 early Christians for administering the rite of baptism, as it still 
 contains a spring. The details of this chapel are given in 
 pi. lxiil of the Architectur al part of this work ; it is considered 
 the simplest and most ancient baptistery extant. 
 
 9. Half length figure of the Redeemer, in the act of blessing, 
 from the same catacomb. (Ibid, vol. i., p. 379.) 
 
 10. The Virgin and Child, St. John, and St. Urban, a 
 painting in the oratory of St. Urban alia Cafarella, on the Via 
 Appia near Rome. The plan and sections of this oratory are 
 given in pi. xx. of the Ar chitectural part of this work. 
 
 11. A painting in the Church of St. Cosimo and St. 
 Damiano at Rome. 
 
 12. The head of Christ between that of the Virgin and St. 
 Smaragdus, in part of the catacomb of the Madonna della 
 Stella at Albano near Rome. 
 
 13. The head of one of the figures on this catacomb, traced 
 from the original. 
 
 14. Christ and his Apostles, from the same catacomb. 
 
 15. Fragment of a painting representing St. Laurence, 
 holding a cross in one hand and a sort of mitre in the other ; 
 peculiarities not seen elsewhere. 
 
 16. Traces of a painting on a wall of very ancient construc¬ 
 tion, in “ opus reticulatum,” forming part of a small chapel in 
 the Villa Doria at Albano. 
 
 17. Part of the plan of the Catacomb della Stella at Albano. 
 Boldetti in his “ Osservazioni sopra i Cimiteij de’ S‘‘ Mar¬ 
 tin,” p. 559, gives a description of this catacomb which, when 
 compared by Agincourt in 1782, was found to agree precisely 
 after the lapse of so many years. It is on the Via Appia near 
 the city of Albano^ under the monastery and Church of the 
 Madonna della Stella. It contains paintings of three distinct 
 periods, considered by Agincourt to have belonged to the sixth, 
 tenth, and fourteenth centuries. They have been painted over 
 at various times with fresh colour, but are now in a rapidly 
 increasing state of decay, which is not to be wondered at, when 
 the very little attention bestowed on them is considered. This 
 excavation, like so many others, was made very hastily, and with 
 so little circumspection that many parts have fallen in, and very 
 little more would close up the only entrance. The depth of 
 this catacomb varies from thirty to fifty feet. 
 
PLATE XI. 
 
 PAINTINGS FROM CATACOMBS IN ROME, AND FROM THAT OF ST. JANUARIUS IN NAPLES. 
 NINTH, TENTH, AND ELEVENTH CENTURIES. 
 
 1. Head of the figure on the right of the Virgin, given 
 under the following number, traced from the original. 
 
 2. A fresco painting, discovered by Agincourt in 1780, in a 
 chapel of the Catacomb of S. Lorenzo, representing the Virgin 
 praying with S 13 - Agatha and some other saint unknown. 
 
 3. A half-length of figure of St. Cecilia. 
 
 4. A half-length figure of another saint, companion to the 
 preceding. 
 
 5. Painting from a catacomb now in a chapel of the Church 
 of S“- Praxedis at Rome, where S. Carlo Borromeo frequently 
 celebrated the mass. It represents three saints, whose names 
 it is almost impossible to decipher ; but they must evidently 
 have belonged to the highest order, from the richness of then- 
 apparel and the sort of diadem or crown on their heads. 
 
 6. Paintings on the Tomb of S u - Grata in the Catacomb of 
 St. Satuminus near the Porta Salara, among which are distin¬ 
 guishable the raising of Lazarus, the three men in the fiery 
 
 furnace, Daniel in the lion’s den, and two kneeling figures, or 
 Orantes. 
 
 7. Three figures from mosaics in the Tribune of S“- Agnese 
 outside the walls of Rome, given in this plate that they may be 
 compared with the fresco painting of No. 5. 
 
 8. Painting, in one of the Chapels of S'”- Agnese, of the 
 Virgin and child, with two monograms of Christ. (Bottari, 
 Roma sotterranea, vol. iii., pi. cliii., p. 83.) 
 
 9. The yarious subjects under this number are from a collec¬ 
 tion made by Agincourt in 1781, from the Catacomb of St. 
 Januarius at Naples, and are intended to give an idea of the 
 state of art from the introduction of Christianity to the tenth 
 and eleventh centimes. These paintings demonstrate how much 
 art owed to its Greek origin in this city. The description of the 
 subjects is given at length in “ Dissertation sur les Catacombes de 
 Naples,” in the third part of Pellicia’s learned work on the anti¬ 
 quities and ordinances of the Christian church at various periods. 
 
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PLATE XII. 
 
 VARIOUS FRESCO PAINTINGS AND PAINTINGS ON GLASS, FOUND IN THE CATACOMBS. 
 
 1. A monument to a grave-digger; he is represented in 
 Ml costume with a mattock in one hand, and a lamp to light 
 him at his gloomy work in the other; the various implements 
 necessary to his occupation lie at his feet, both his name and 
 employment are given in the inscription over the figure; there 
 are crosses formed of four r, gammas, entwined on different parts 
 of the dress. This painting is fern the catacomb of St. Calixtus. 
 (Boldetti, Osservazioni, p. 60.) 
 
 2. Portrait of Pietro Luci, principal of the excavators, or 
 grave-diggers, employed in searching for the bodies of saints, in 
 the catacombs ; he was employed as a guide by Agincourt for 
 several years during his extensive researches. 
 
 3. Grave-diggers in the catacombs at work; one holds a 
 mattock, another a lamp, and the third a spade. This painting 
 is from a chapel of the catacombs in the Via Latina. (Aringhi\ 
 Roma subterranea, vol. ii., pp. 22 and 23.) 
 
 4. The annunciation, or possibly only a conversation between 
 two persons ; a painting from a chapel in the Cemetery of Priscilla 
 in the Via Salara. (Ibid, vol. ii., p. 297. Bottari, Roma sotte- 
 ranea, vol. iii., pi. clxxvi., p. 141.) 
 
 5. Abraham about to sacrifice his son Isaac ; a painting on a 
 “ monumentum arcuatum” in the Cemetery of St. Marcellinus and 
 St. Petrus on the Via Labicana. (Aringhi, Roma subterranea 
 vol. ii., p. 123.) 
 
 6. Labours of the early Christians condemned to work in the 
 excavations which afterwards became the catacombs; painting 
 in a chapel of the Cemetery of St. Calixtus. (Ibid, vol. i., p. 535.) 
 
 7. The dove with the olive branch returning to Noah in the 
 ark, from the Cemetery of Priscilla. (Ibid, vol. ii., p. 285.) 
 
 8. The Virgin and Child ; from the Cemetery of San Giulio, 
 or of San Valentino on the Via Flaminia. (Ibid, vol. il, p. 353.) 
 
 9. Jesus with his apostles, or disputing with the doctors; 
 from the Cemetery of St. Calixtus. (Ibid, vol. i., p. 529.) 
 
 10. Paintings on the ceiling of a chapel discovered by Agin¬ 
 court in 1789, in the Catacomb of St. Satuminus on the Via 
 Salara. 
 
 11. The Good Shepherd, a landscape in a MS. in the library 
 of the Vatican, No. 5409. 
 
 12. The raising of Lazarus ; in the Cemetery of St. Calixtus. 
 (Ibid, vol. L, p. 565. Roma sotteranea, p. 239.) 
 
 13. The man sick of the palsy healed by Christ, from the 
 same. (Ibid, vol. i., p. 541.) 
 
 14. The rainbow formed by the tail of a peacock, an emblem 
 of Christian immortality, from the Cemetery of Priscilla. (Ibid, 
 vol. ii., p. 285.) Bosio, in his “ Roma sotteranea,” p. 642, explains 
 the various symbolical emblems expressed by this bird, which is 
 very frequently found in the catacombs. 
 
 15. The Saviour saying “Suffer little children to come 
 unto me” (Matthew, chap, xix.); painting from the cemetery 
 on the Via Latina. (Aringhi, Roma subterranea, vol ii 
 p. 25.) 
 
 16. Five figures each holding a small vessel in one hand, and 
 a wand or whisk for sprinkling holy water in the other ; a paint- 
 ing in the Cemetery of St. Agnes on the Via Nomentana. Aringhi 
 (Ibid, vol. ii., p. 199) is of opinion that these figures are intended 
 
 for the five wise virgins, the first knocking at the door of the 
 bridegroom with the wand, which, however, Bottari considers to 
 be but a wliisk for holy water. (Roma sotteranea, vol. iii., p. 70. 
 pi. cxlviii.) 
 
 17. Christ on the cross, habited in a long robe, with the 
 Virgin and St. John, from the Cemetery of Giulio on the Via 
 Flaminia. (Aringhi, Roma subterranea, vol. ii., p. 354 .) 
 
 18. The martrydom of a saint from the same place ; this is the 
 only instance of a subject of this painful nature being found in 
 the catacombs. They were as much avoided by the early 
 Christians as sought for afterwards. (Ibid, vol. ii., p. 353 .) 
 
 19. An ordination of some kind, conferred either by Christ 
 or a bishop, from the Cemetery of St. Hermes on the Via 
 Salara. (Ibid, vol. ii., p. 329. Bottari, Roma sotteranea, vol. iii., 
 pi. clxxxvi., p. 160.) 
 
 20. The martrydom of St. Vittorino, bishop of Amitemum, 
 from a bas-relief on a wall of the church dedicated to this saint, 
 near the town of Aguila in the Abnizzi. (Marangoni, Acta sancti 
 Victorini Episcopi Amitemi et Martyris illustrata, etc. ; Roma 
 1740.) 
 
 21. Peter on the cross habited in a long robe; from a 
 painting in the manuscript of Monseigneur Penna, No. 5409, 
 in the library of the Vatican. 
 
 22. The Virgin and Child, with a deacon at the side holding 
 a sort of fan, from a painting at the bottom of an ancient drink¬ 
 ing glass, used by the early Christians. (Boldetti, Osservazioni, 
 etc., pi. vii., p. 202.) 
 
 23. The head of a young man, with a golden seal on his 
 breast, with the name of T. Clodius Victor ; also the heads of 
 a young man and child, with the names of Fortunatus Zeno¬ 
 bius ; from glasses in the Ecclesiastical Museum of the Collegio 
 Romano. 
 
 24. The heads of two youths, with Victory in a quadriga, 
 and a man attacking a boar with vine leaves ; from the bottom’ 
 of a large glass in the Ecclesiastical Museum of the Collegio 
 Romano. 
 
 25. The figure of a shepherd, from a glass in the collection 
 of Monsignor Gaetano Marini. 
 
 2G. The bottom of another glass of the same kind, containing 
 a monogram of Christ, a man, woman, and child, with the names 
 of Sebere, Cosmas, and Lea, with the usual ejaculation at the 
 right side of “ Zezes, vivas.” 
 
 27. The bottom of a glass with an inscription not in very 
 good preservation, but which we should read thus: “ Dignitas 
 amicomm vivas cum tuis féliciter.” Buonarotti mentions a 
 similar inscription. (Osservazioni sopra alcuni fiammenti di 
 vetro, pi. xvii., p. 98.) 
 
 28. 30. Two glasses, supposed to haye served as chalices in 
 the early Christian church ; one is thirteen inches two lines in 
 height, and three inches two lines in width ; the other eight 
 inches m height, and two inches nine lines in width. Both aie 
 simple in form and without ornament. They were preserved by 
 the monks of S. Basilio, near the Palazzo Barberini at Borne. 
 
 29. A drinking-glass or chalice of a beautiful antique form 
 highly ornamented, in gold, enamel, and colours. 
 
 Painting D 
 

 A SELECTION FROM SOME OF THE FINEST ANCIENT MOSAICS. 
 
 1. Part of an ancient mosaic pavement found in the Villa 
 Adriana at Tivoli, formed of small pieces of marble of various 
 size and colour. It is the kind of mosaic called by the ancients 
 “ opus tesselatum," and appears to have been the first invented. 
 (Furietti, De Musivis Romæ, 1752, pi. iv., p. 54.) Bulingerus 
 in his work gives the opinion of several ancient authors, in 
 addition to his own, upon the material, &c. &c. used in mosaic 
 work. (Bulingerus, De pictura, plastice et statuaria, lib. ii., 
 cap. 8 ; Lugduni, 1627.) 
 
 2. Another mosaic pavement in marble, from the Basilica of 
 S w - Croce in Jerusalem. Many of the churches built in Rome 
 at the time of the early Christians have pavements of this kind. 
 Ciampini gives a great many in his “ Vetera Monimenta,” Romæ, 
 1747, vok i., pi. xxxix., p. 80. 
 
 3. A tiger attacking a bull, in the kind of mosaic called by 
 the ancients “ opus sectile,” cut and inlaid with great care, both 
 as regards the subject and colour. This mosaic is in one of the 
 chapels of the Church of St. Antonio Abbate, near the Church 
 of S 1 *- Maria Maggiore in Rome, and is given by Ciampini. (Ibid, 
 vol. i., pi. xxii., p. 56.) He mentions having seen the same 
 subject in an old ruined church called St. Andrea in Barbara, 
 built on the ruins of the Basilica Siciniana, of which he gives a 
 full account. (Ibid, vol. i., cap. xxvii., p. 242.) In the same 
 place there is another piece of mosaic work, formed in a similar 
 manner of marble, the colours chosen to suit the subject, repre¬ 
 senting a leopard devouring a stag. These two specimens of 
 opus scctile appear to stand alone of their kind. Ciampini con¬ 
 siders that they represented the fights of beasts established by 
 Antony the Triumvir on the occasion of his triumph, but 
 Lampridius, in the life of Alexander Severus, tells us that this 
 emperor was a great lover of the arts, and was the first to intro¬ 
 duce the employment of marbles of different colours. This 
 kind of work was therefore called, after him, “ opus Alexandri- 
 num,” and as he had the honour of a triumph after his conquest 
 of the Persians, and gave the Romans plays and games, it is not 
 unlikely that these works were executed at that time ; but, how¬ 
 ever this may be, from the incorrectness of the drawing we 
 should say that they must have been made before the art of 
 mosaic work attained any perfection, or during its decline. 
 
 4. Part of a mosaic ornament on the vault of the Church of 
 S'“- Constantia, Rome, the plan of which is given in pi. vii. of 
 the part on Architecture. 
 
 5. Another piece of mosaic work from the same place, with 
 children on the branches of the vine, and a car drawn by oxen 
 carrying the vintage. There are twelve similar compartments 
 in the Church of S“- Constantia, the designs of which are nearly 
 all different. They are formed of small cubes of glass. 
 
 6. Hercules, after destroying the sea monster to whom 
 Hesione was destined as a sacrifice, offers her as a wife to 
 Telamon. This mosaic is of the finest description ; it is formed 
 of very small pieces of marble, called by the ancients “ opus 
 vermiculatum.” Most of the subjects in this and the five fol¬ 
 lowing plates are in this kind of mosaic work, as it bears com¬ 
 parison with painting better than any other. The subject of 
 No. 6 was found in 1760 at Atina near Arpino in the kingdom 
 of Naples, and was placed in the celebrated villa of the late 
 Cardinal Allessandro Albani. Wincklemann gives a full account 
 of this subject in his “ Monumenti inediti,” vol. i. The same 
 subject has been found in Herculaneum, but very differently 
 treated. (Pitture d’Ercolano, vol. iv., pi. lxiii., p. 313.) 
 
 7. Some of the ornaments and medallions, with heads of 
 Muses, surrounding an ancient mosaic pavement discovered in 
 
 1779 under the ruins of the ancient city of Italien near Seville 
 in Spain. Alexandre de Laborde published a full account of it 
 in 1802. 
 
 8. The rape of Europa; a mosaic of extraordinary beauty 
 found near Præneste, now in the Barberini Palace at Rome. 
 (Ciampini, Vetera Monimenta, vol. i., pL xxxiii., p. 82.) 
 
 9. Perseus delivering Andromeda ; a marble bas-relief found 
 at the excavation of the Muti Palace, near the Piazza de' Santi 
 Apostoli in Rome. It was first taken to the Villa Panfili, and 
 then to the Museum of the Capitol. (Museo Capitolino, vol. iv., 
 pi. lii., p. 243.) 
 
 10. A battle of Centaurs with lions and tigers ; a very beau¬ 
 tiful mosaic found at the Villa Adriana in 1779. 
 
 11. Love taming the lion, and leaving Hercules to spin; 
 
 « omnia vincit amor the ideas in this subject are very spirited, 
 but the drawing is careless. It was found at Antium, and pre¬ 
 sented to Pope Benedict XIV. by M. Angelo Gabrielle. It is now 
 in the Museum of the Capitol. (Museo Capitolino, vol. iv., 
 pi. xix., p. 87.) 
 
 12. Various masks, forming a very perfect piece of ivoik- 
 mansliip, both as regards drawing and material. This was found 
 in the Villa Adriana, and is now preserved with the care it so 
 well deserves in the Museum of the Vatican. 
 
 13. Nereids and a sea-horse, in opus vermiculatum. (Ciam¬ 
 pini, Vetera Monimenta, vol. ii., pi. ii., p. 4.) 
 
 14. The celebrated mosaic known by the name of the 
 “ Doves of the Capitol,” foimd in the Villa Adriana at Tivoli, 
 by Cardinal Furietti, who engraved it in his treatise “ De 
 Musivis,” p. 27. It was secured to the Museum of the Capitol 
 by Pope Clement XHL (Museo Capitolino, vol. iv., pi. lxix., 
 p. 357. Wincklemann, Storia delle arti, vol. ii., pp. 280-380.) 
 This mosaic is the most perfect work of art of the kind known, 
 Furietti numbered 160 pieces of marble in one square inch. 
 Pliny mentions a similar subject as one of the finest productions 
 of a Greek artist of the name of Sosus:—“ Celeberrimus fuit in 
 hoc genere Sosus, qui pergami stravit, quem vocant Asarotou 
 œcon, quoniam purgamenta cœnæ in pavimento, quæque everri 
 soient, veluti relicta, fecerat parvis è testulis, tinctisque in varios 
 colores. Mirabilis ibi columba bibens et aquam umbra capitis 
 infuscans: apricantur aliæ scabentes sese in cantliari labro.” 
 (Hist. Nat., lib. xxxvi., cap. xxv., sec. 60.) Most of the sub¬ 
 jects of the mosaics foimd in Rome are taken from the Greek 
 mythology, and must have been either executed by Greeks, or 
 copied from Greek originals. The celebrated mosaic of Palestrina 
 greatly supports this conclusion. The names are in the Greek 
 character and the buildings in Grecian style, whilst the subjects 
 are all Egyptian. According to Pliny, the art of mosaic work 
 was first introduced in Rome in the time of Sylla (cœptavêre 
 sub Sylla), who was supposed to have been the author of Pales¬ 
 trina's mosaic, and as we leam from history that tliis general 
 became possessed of innumerable works of art by his conquest 
 of Athens, and conveyed pictures, statues, columns, &c. to Rome, 
 it is not improbable that he also conveyed mosaics. In oppo¬ 
 sition to this opinion there are considerable grounds for supposing 
 that this art was first introduced in the time of Adrian, who 
 endeavoured to unite the styles of Greek and Egyptian art in 
 Italy, and therefore very probably suggested the mosaics at 
 Præneste. 
 
 15. A mosaic found in 1670 in the Baths of Antoninus 
 G'aracalla. A large engraving of this subject is given in the 
 “ Picture: antiquæ cryptarum Romanorum.” (Edit. 1750, 
 appendix, pi. i.) 
 
PLATE XIII.— (Continued.) 
 
 16. Figures and arabesques in mosaic work, on a monument 
 in the Catacomb del Crocefisso, near the Porte Salaro, discovered 
 by Agincourt in 1780. 
 
 17. An arabesque in mosaic on the semi-dome of the apsis 
 in the Church of St. Clement at Rome, executed in 1299 in 
 honour of St. Dominic. This mosaic is not placed here in chro¬ 
 nological order, but in comparison with Nos. 4 and 5, to show 
 the difference of works of art of this kind dining a period of 
 eight or nine centuries. 
 
 18. A head of rather a large size in black and white marble, 
 found by Agincourt in 1780, in the Catacomb of St. Hermes. 
 
 19. The stone of a ring, on which there is a lizard of green 
 stone, inlaid in a ground of blue, with a thread of gold round 
 the outline. 
 
 20. Portrait of Pope Giovanni VII., a work of the eighth 
 century. 
 
 21. Fragment of a mosaic pavement in black and white 
 stone, with fine lines of lead, a very peculiar kind of mosaic 
 work. It was found in the island of Delos in 1785, and pre¬ 
 sented to Cardinal Borgia, who placed it in his museum at 
 Velletri. 
 
 22. Head of Christ, a mosaic of the first century ; the original 
 (of the same size) is in the collection of the Advocate Mariotti in 
 Rome. 
 
 23. The stone of a ring, in similar workmanship to No. 19, 
 with a parrot in four different coloured stones; the wings are 
 green, the breast yellow, and the head, neck, tail, and legs, 
 aie red ; both these rings belonged to Prince Stanislaus 
 Poniatowsky. 
 
 24. Head unknown, discovered in the same place, and at 
 the same time as No. 18. 
 
 25. A woman praying, from the Catacomb of Ciriaco. 
 
 26. The head of St. Peter, which, as well as that of St. Paul, 
 No. 31, formed part of the mosaic in the Triclinium of St. John 
 Lateran, now in the collection of the Advocate Mariotti. 
 
 27. An inscription in small black and white stones, found by 
 Agincourt hi 1780, in the Catacomb of St. Satuminus, near the 
 Porte Salaro. 
 
 28. A fine head in a medallion, executed in mosaic relief. 
 This subject is engraved in Count Caylus’ “Recueil d’ Antiquités,” 
 vol. iii., pi. lix. He observes, that this kind of mosaic in relief 
 is very rare, and of a different description to that described by 
 Procopius “De Bello Gothico,” cap. 24., who says that there 
 was a figure of King Theodoric in an open square in Naples, 
 formed entirely of small stones of various colours. Bulengerus, 
 (De picturæ, &c., cap. viii.) mentions a statue of the nephew 
 of Augustus, erected in his oratory (Lararium), which was formed 
 of a mosaic of costly stones. 
 
 29. An inscription, in black and white stone, similar to No. 
 27, and found in the same place. 
 
 30. Inscriptions in mosaic, formed of stones and pieces of 
 coloured glass, published by Boldetti. (Osservazioni sopra i 
 cimiterj, p. 522.) 
 
 31. Head of St. Paul, taken from the ancient mosaic of the 
 Triclinium of Pope St. Leo, in St. John Lateran, from the 
 collection of the Advocate Mariotti. 
 
 32. Portrait in mosaic, found in the Catacomb of St. 
 Ciriaco. 
 
 PLATE XIV. 
 
 MOSAICS FROM THE CHURCH OF S TA - MARIA MAGGIORE IN ROME, PLACED IN COMPARISON WITH THE 
 BAS-RELIEFS OF TRAJAN’S COLUMN. FIFTH CENTURY. 
 
 1. Jupiter appearing to the army of Trajan, and urging 
 them to the assault of a town. (Pietro Sante Bartoli, Columna 
 Trajana, pi. xviii.) 
 
 2, 3. God appearing to the army of Joshua at the siege 
 of Jericho. (Joshua, chap, v.) These two subjects form part of 
 the mosaic above the pillars in the Basilica of S u - Maria 
 Maggiorc, a work of the fifth century. (Ciampini, Vetera 
 Monimenta, vol. i., pi. lxii., fig. ii., p. 222.) 
 
 4. Trajan receiving the report of the spies sent by him 
 to reconnoitre. (Pietro Sante Bartoli, pi. xxvi.) 
 
 5, 6. The two spies sent by Joshua to the town of Jericho 
 escaping from the house of Rahab. (Joshua, chap, ii., v. 1-15.) 
 These two mosaics, as well as Nos. 2 and 3, formed part of 
 the mosaic in the Basilica of S‘ a - Maria Maggiorc. (Ciampini, 
 pi. lxi., fig. 2., and pi. lxii., fig. 1., p. 222.) 
 
PLATE XV. 
 
 OTHER MOSAICS FROM THE BASILICA OF S TA MARIA MAGGIORE, PLACED IN COMPARISON WITH THE 
 
 BAS-RELIEFS OF TRAJAN’S 
 
 1. Trajan receiving the homage of a conquered king ; a bas- 
 relief from Trajan's column. (P. S. Bartholi, pi. xci.) 
 
 2. A sacrifice on the return of Trajan. (Ibid, pi. lxxvi. 
 and lxxvii.) 
 
 3. The ambassadors of a conquered people begging for peace 
 of Trajan. (Ibid, pi. xx.) 
 
 4. Esau receiving Jacob’s submission; part of the mosaic 
 work in the Basilica of S UL Maria Maggiore at Rome, a work of 
 the fifth century. (Ciampini, Vetera Monimenta, vol. i., pi. liv., 
 p. 215.) 
 
 5. Melchisedec meeting Abraham and offering him bread 
 and wine as conqueror of the five kings; a mosaic from the same 
 church. (Ibid, vol. i., pi. 1., p. 212.) 
 
 COLUMN. FIFTH CENTURY. 
 
 6. Jacob’s message to Esau to request his friendship, from 
 the same. (Ibid, vol. i., pi. liv., p. 215.) 
 
 7. The ambassadors of Gibeon supplicating for peace of 
 Joshua ; taken from a manuscript in the library of the Vatican. 
 (No. 405.) 
 
 8. William the Conqueror, as Duke of Normandy, receiving 
 the ambassador of King Harold of England, part of the Bayeux 
 tapestry worked by Countess Matilda, representing the Conquest 
 of England. The whole of this tapestry is given in pi. clxvii. 
 
 9. King William sends officers to reconnoitre, from the same 
 tapestry. 
 
 10. Joshua sends to reconnoitre the town of Ai. (Joshua, 
 chap, vii., v. 2.) This painting is taken from a manuscript in 
 the library of the Vatican. (No. 405.) 
 

.i/W .„„**;■* ■■ Mirers**. 
 
PLATE XVI. 
 
 MOSAICS FROM DIFFERENT CHURCHES IN ROME AND RAVENNA. FOURTH TO SIXTH CENTURY. 
 
 1. The Redeemer, according to tradition, appearing to the 
 Roman people, on the day of the consecration of the Basilica of 
 St. John Lateran by Constantine. This mosaic is in wonderful 
 preservation, considering the number of times this church has 
 been destroyed by fire. Nicholas IV., who rebuilt the choir, had 
 it restored, after which Giovanni XXII., in the year 1318, 
 accorded extraordinary indulgences to all who made a pilgrim, 
 age to it. 
 
 2. Jesus Christ and two Apostles; a mosaic in one of the 
 semicircular niches in the Church of S' 3 - Constantia, commonly 
 called the Temple of Bacchus, erected in the fourth century by 
 Constantine. (Ciampini, Vetera Monimenta, vol. iii., pi. xxxii., 
 p. 131.) There is a sort of monogram on the dress of the 
 Apostle to the right of Christ, which is very frequently found in 
 mosaics in the catacombs, and in the paintings of manuscripts. 
 
 3. Nearly the same subject, from the tribune of the ancient 
 Church of St. Peter ; the names of the Apostles are written in 
 Greek on one side, and in Latin on the other. (Ibid, vol. iii., 
 pi. xiii., p. 42.) 
 
 FIFTH CENTURY. 
 
 4. The annunciation ; part of the mosaic in the triumphal 
 arch at the entrance of the Basilica of S ,a - Maria Maggiore, 
 executed about the time of Pope Sixtus III. (Ibid, vol. i., 
 pi. xlix., p. 206.) 
 
 5. Two figures of the Redeemer, in mosaic, of the fifth 
 century, from the small church of San Nazaro e Celso at 
 Ravenna. (Ibid, vol. i., pi. lxvi. and lxvii., p. 227.) 
 
 6. The triumph of Christ ; a mosaic on the triumphal arch of 
 St. Paul outside the walls of Rome, executed in 441 by order of 
 Galla Placidia, daughter of the Emperor Theodosius, wife of 
 Constantine and mother of the Emperor Valentinian III. (Ibid, 
 vol. i., pi. lxviii., p. 229.) 
 
 7. Christ on lois throne, with an angel on either side ; a mosaic 
 of the fifth or sixth century, in the apsis of the Church of S' 3 - 
 Agatha Maggiore at Ravenna. (Ibid, vol. i., pi. xlvi., p. 185.) 
 
 SIXTH CENTURY. 
 
 8. The consecration of the Church of St. Vitale at Ravenna, 
 by St. Maximian, in the presence of the Emperor Justinian and 
 his court in 547 ; a mosaic in the choir, anno 547. (Ibid, vol. 
 ii., pi. xxii., p. 73.) 
 
 9. The Lamb, symbolical of the Apocalypse of St. John; a 
 mosaic of the year 530, in the Church of St. Cosma and S. 
 Damiano in Rome. (Ibid, vol. ii., pi. xv., p. 58.) 
 
 10. A mosaic in the Church of St. Vitale at Ravenna, of the 
 year 547, with subjects from the Old Testament. (Ibid, vol. ii., 
 pi. xxi., p. 70.) 
 
 11. Christ sitting on the globe with St. Peter, St. Laurence, 
 and Pope Pelagius, on his right, and St. Paul, St. Stephen, and 
 St. Hippolytus on his left; a mosaic in the tribune of the 
 
 Basilica of S. Lorenzo outside the walls of Rome, anno 578. 
 (Ibid, vol. ii., pi. xxviii., p. 101.) 
 
 12. A mosaic of the year 547, with subjects from the Old 
 Testament, in the Church of St. Vitale at Ravenna. (Ibid, vol. 
 ii., pi. xx., p. 68.) 
 
 13. A mosaic in the Church of St. Apollinarius, called Nuovo, 
 at Ravenna, built by Theodoric at the commencement of the 
 sixth century for the Arian form of worship ; after the destruc¬ 
 tion of the Gothic kingdom it was consecrated to the Catholic 
 religion, and was considerably altered and embellished. (Ibid, 
 vol. ii., pi. xxvi., p. 90.) 
 
 14. A person sitting at a table with three others standing, 
 supposed by Ciampini to have been intended for King Theodoric ; 
 a mosaic of the sixth century, in the Church of St. Apollinarius 
 in Classe at Ravenna. (Ibid, vol. ii., pi. xxiv., p. 88.) 
 
 15. The façade of a palace ; a mosaic of the year 570, in the 
 Church of St. Apollinarius Nuovo at Ravenna, supposed to have 
 been the one built by King Theodoric, and given in pi. vii. of 
 the Architectural part of this work. Ciampini (Ibid, vol. ii., 
 pi. xxvi., p. 92) entertains some doubts on this subject, but 
 besides the probability that a prince who contributed so much 
 to the beautifying of Ravenna, and made it the seat of govern¬ 
 ment, should also have built a palace there, Fabri, in his 
 “ Memorie sagre di Ravenna antica,” says that the representa¬ 
 tion of this palace in mosaic work was executed by order of 
 the Archbishop S. Agnello, who consecrated this church to the 
 Catholic religion, and quotes an inscription in mosaic formerly 
 over the high altar, in which the building is ascribed to Theo¬ 
 doric, king of the Goths. The representation in mosaic of dra¬ 
 peries and curtains between the columns of this palace give some 
 idea of the splendour of these ornaments in public buildings, and 
 especially in churches at this period, thus described: “Vela pen- 
 dentia inter columnas.” “ Venire ad primum et secundum velum." 
 “ Cortinæ albæ Holosericæ rosatæ,” etc. These curtains are fre¬ 
 quently mentioned by the librarian Anastasius, among the pre¬ 
 sents made by popes and princes to different churches. They 
 were generally of purple silk, with gold or silver embroidery, 
 frequently representing sacred subjects. 
 
 16. The ancient port of Ravenna ; a mosaic in the Church of 
 St. Apollinarius at Ravenna. (Ciampini, Vetera Monimenta, 
 vol. ii., pi. xxvii., p. 99.) 
 
 17. Offerings of the Magi; a mosaic in the same church. 
 (Ibid, vol. ii., pi. xxvii., p. 100.) 
 
 18. Portrait of the Emperor Justinian ; a mosaic over one of 
 the doors of the Church of St. Apollinarius Nuovo. (Ibid, 
 vol. ii., pi. xxv., p. 89.) 
 
 19. Four subjects from the New Testament, in mosaic work 
 in the same church. (Ibid, vol. ii., pi. xxvii., p. 95.) 
 
 20. Two saints ; a mosaic in the same chmxh. (Ibid, vol. ii., 
 pi. xxvi. and xxvii., pp. 95 and 100.) 
 
 Painting E 
 
PLATE XVII. 
 
 MOSAICS FROM CHURCHES IN ROME. SEVENTH TO THE NINTH CENTURY. 
 
 SEVENTH CENTURY. 
 
 1. Christ with an angel on either side; the Virgin with 
 apostles and martyrs underneath ; a mosaic commenced in 640 
 by Pope Giovanni IV., and completed by his successor Theodore 
 in 649, in the tribune of the Church of S. Venanziano near St. 
 John Lateran. (Ciampini, Vetera Monimenta, vol. ii., pi. xxx., 
 and xxxi., pp. 106 and 108.) 
 
 2. Mosaic in the apsis of the Church of S’* - Agnese outside 
 the walls of Rome. St. Agnes is represented in the centre with 
 Popes Symmachus and Honorius standing on either side The 
 Emperor Constantine built this church in honour of St. Agnes, 
 and the decoration was undertaken by the two popes, the latter 
 of whom gave the mosaic. St. Ambrosius speaks of this martyr 
 with the greatest veneration. (Ibid, vol. ii., pi. xxix., p. 103.) 
 
 3. St. Sebastian in the costume of the Greek school; a 
 mosaic in the Church of S. Pietro in vincoli at Rome, supposed 
 to have been executed by a Greek artist in 680, when Rome 
 was visited by a fearful pestilence, and great faith was placed in 
 the intercession of this saint. (Ibid, voL ii., pi. xxxiii., p. 116.) 
 The plan and details of the Church of S. Pietro are given 
 in pL xxL of the part on Architecture. 
 
 4. St. Euphemia with two snakes; a mosaic found in the 
 church dedicated to her in 688; it was situated near S“- 
 Pudenziana, and destroyed during the reign of Pope Sixtus V. 
 (Ibid, vol. ii., pi. xxxv., p. 118.) 
 
 5. A hand from the clouds pointing to a cross, on the top of 
 which is the head of our Saviour, with St. Primus and St. 
 Felicianus standing on either side. This mosaic, executed 
 about the year 645, is in the Church of S. Stefano Rotondo on 
 Mount Ccelius. (Ibid, vol. ii., p. xxxii., p. 111.) 
 
 EIGHTH CENTURY. 
 
 6. Pope Giovanni VII., who reigned from 705 to 708; a 
 mosaic in the Church of St. Peter, which has been restored. 
 (Dionysius, Vaticanæ Basilicæ cryptarum monumenta; Romæ, 
 1773, pi. xviii., p. 44.) 
 
 7. Half-length figures of the Virgin and a saint, from the 
 same place. (Ibid, pi. lxxv., p. 184.) 
 
 8. The Virgin and Child ; a mosaic placed in the ancient 
 Church of St. Peter by Pope John VII. about the year 
 705, and removed to the Basilica of S“- Maria in Cosmedino in 
 1639. (Ciampini, Vetera Monimenta, vol. iii., pi. xxiv., p. 75.) 
 
 9. A mosaic in the ancient Triclinium of Pope Leo III. at 
 Rome, representing Christ and his Apostles in the centre; at 
 the right Christ is giving keys to St. Peter and a banner to 
 Constantine ; on the left St. Peter is giving the pallium to Pope 
 Leo in. and a banner to Charlemagne. (Ibid, vol. ii., 
 pi. xxxix., p. 128.) 
 
 10. The transfiguration, the annunciation, and the birth of 
 Christ ; a mosaic in the Church of St. Nereus and St. Achilleus 
 at Rome. (Ibid, vol. ii., pi. xxxviii., p. 125.) 
 
 NINTH CENTURY. 
 
 11. The Holy City, from the Revelations of St. John, 
 chap. vii. ; a mosaic in the choir of the Church of S'“- Praxedis 
 at Rome, a work executed in 818. (Ibid, vol. ii., pi. xlv.) 
 
 12. Another subject from the Revelations of St. John, 
 chap. iv. ; a mosaic in the basilica built by Charlemagne at 
 Aix-la-Chapelle in 802. The plan, &c., of this basilica is given 
 in pi. xxv. of the Architectural section. 
 
 13. The Virgin and Child in a very rich dress, after the 
 manner of the Greek school, with four of the Apostles ; a 
 mosaic of the year 848 in the choir of the Church of S“- Maria 
 Maggiore at Rome. (Ibid, vol. ii., pi. liii., p. 163.) 
 
 14. The Virgin with saints and angels, and Christ with 
 the twenty-four elders; a work of the Greek school in the 
 Chinch of S“- Cecilia at Rome. It appears from an inscription 
 we have under the mosaic that this church was rebuilt by Pope 
 Paschalis I. in 817. (Ibid, vol. ii., pi. Ii. and lii., p. 156.) 
 
 15. Nearly the same subject, placed by Pope Paschalis I. 
 in the Church of S“- Maria Dominica at Rome. (Ibid, vol. ii., 
 pi. xliii. and xliv., p. 142.) 
 
PLATE XVIII. 
 
 MOSAICS IN ROME, FLORENCE, AND VENICE, OF THE TENTH TO THE FOURTEENTH CENTURY. 
 
 TENTH CENTURY. 
 
 1. Christ with St. Peter and St. Paul; a mosaic formerly on 
 the tomb of the Emperor Otho II., under the portico of the 
 ancient Church of St. Peter, now transported to the vaults of 
 this basilica. (Alemannus, De Lateranensibus Parietinis, p. 88. 
 Ciampini, Vetera Monimenta, vol. i., p. 272. Dionysius, Crypt. 
 Vat. Monum., pi. x., p. 22.) 
 
 2. Jesus Christ, the Virgin, and St. Mark; a mosaic of the 
 eleventh or twelfth centuries, in the Church of St. Mark at 
 Venice. (Zanetti, Della pittura Veneziana, p. 562.) 
 
 ELEVENTH CENTURY. 
 
 3. Head of Christ, with an inscription in mosaic of the year 
 1296, in the Church of S“- Miniato at Florence. Vasari men¬ 
 tions this work as one of the first showing signs of the revival of 
 art. (Vasari, Proemiodelle Vite, &c., vol. i., p. 76; Roma, 1759.) 
 
 4. God creating Eve from the rib of Adam. 
 
 5. The circumcision of Abraham. These two works, of the 
 eleventh or twelfth century, are from St. Mark’s Church at 
 Venice. (Zanetti, Della pittura Veneziana, p. 562.) 
 
 TWELFTH CENTURY. 
 
 6. Jesus Christ and the Virgin surroimded by saints; a 
 mosaic at S“- Maria in Trastavere in Rome, executed during 
 the pontificate of Innocent II., between the years 1130 and 1143. 
 
 7. The Redeemer; a mosaic of the latter part of the thir¬ 
 teenth century, in the confessional of the Church of St. Peter. 
 (Ciampini, Vetera Monimenta, vol. iii., pi. xiv., p. 49.) 
 
 8. Figures and ornaments in mosaics, from the inner wall of 
 the Church of the Nativity at Bethehem. We leam by a Greek 
 inscription that this work was executed during the reign of 
 Emanuel Comnenus Porphyrogenites, in the twelfth century, 
 and that the name of the artist was Ephraim ; he is called a 
 mosaic painter and historian. (Ibid, vol. iii., pi. xxxiii., pp. ISO- 
 162. Francisci, Quaresmii ex ordine mimorum elucidatio terræ 
 sanctæ, &c., vol. ii., lib. vi. ; Antverpiæ, 1639.) 
 
 9. The Redeemer ; a mosaic found over a gate in the ruins 
 of an hospital. The duty of the order to which it belonged was 
 to obtain freedom for Christian slaves. This order was founded 
 in the thirteenth century, but only confirmed by Pope Honorius 
 III. in 1218. We find from an inscription, that this mosaic was 
 the work of a Master Jacobus and his son Cosmas, the heads of 
 a celebrated family of artists; it is near the Church of S. Tomaso 
 in Formis on Mount Cœlius. Christ is represented giving free¬ 
 dom to a white man on one side, and to a black one on the 
 other, as emblematical of universal benevolence. 
 
 THIRTEENTH CENTURY. 
 
 10. Christ, with two female saints, whom Ciampini considers 
 were intended for St. Cyrilla and her mother Triphonia ; a mosaic 
 in the frieze of the portico of the Church of S. Lorenzo outside the 
 walls of Rome, which was built by Honorius III. about the year 
 1216. (Ibid, vol. ii., pi. xxviii., letter A, p. 103.) 
 
 11. Another mosaic from the same place, with Pope Hono¬ 
 rius, S. Lorenzo, and a kneeling figure. The artist has fortu¬ 
 nately placed the names near the figures, otherwise it would 
 have been difficult to discover for whom they were intended. 
 (Ibid, vol. ii., pi. xxviii., letter D, p. 103.) The plan and details 
 
 ' °f the Church of S. Lorenzo are given in pi. xxviii. of the part 
 on Architecture. 
 
 12. Christ sitting on the globe ; a mosaic from the baptistery 
 of St. John at I lorence, by the Florentine Andrea Tafi, who 
 died in 1294. 
 
 13. A mosaic in the tribune of the Church of S. Giovanni 
 Laterano at Rome. There is a cross in the centre with the 
 Virgin, Pope Nicholas IV., and other saints. The name of the 
 artist, Fra Giacomo Torrite, is given on one side, and that of his 
 scholar and assistant, Fra Jacopo de Camerino, on the other. 
 The latter executed a work in mosaic at Orvieto, in the fourteenth 
 century. (Storia del duomo di Orvieto, by Padre della Valle ; 
 Roma, 1791, in fol.) Giacomo Torrite, or da Turrita, died in 
 1289, at the age of eighty-one. (Vite de’ Pittori, vol. i., p. 31. 
 Baldinucci, Notizie de’ Professori del disegno, décennale ii. 
 Della Valle, Lettere Senesi, vol. i., p. 282; Venetia, 1782.) 
 
 14. Christ crowning the Virgin ; a mosaic by Gaddo Gaddi, 
 
 ■ over the great door of the Church S“- Maria del fiore at 
 | Florence, mentioned by Vasari as the most perfect up to the 
 
 time of the death of this artist in 1312. (Vasari, vol. i., p. 33.) 
 
 FOURTEENTH CENTURY. 
 
 15. Christ, the Virgin, and Apostles ; a mosaic on the prin¬ 
 cipal façade of the Church of St. Paul outside the walls of 
 Rome, by Pietro Cavallini, who died in 1344 at the advanced 
 age of eighty-five. (Ibid, vol. i., p. 97.) 
 
 16. The Virgin and Child with the ten virgins ; a mosaic on 
 the outer façade of the Church of S“- Maria in Trastavere at 
 Rome, by Cavallini. 
 
 17. Monument to a Domincan monk, in the Church of St, 
 Sabine at Rome ; in mosaic work of a very peculiar kind, formed 
 of black and white stones inlaid in white marble. The inscrip¬ 
 tion in the ordinary character of the period runs thus:— 
 
 HIC JACET FRATER MUNIO ZAMORENSIS NATIONE HISPANUS QUONDAM 
 ORDINIS FRATRUM PREDICATOREM MAGISTER SEPTIMUS QUI OBIIT SEP. 
 TIMA DIE MENSIS MARTII ANNO DOMINI MILLESIMO TRECENTESIMO 
 PONTIFICATUS DOMINI BONIFACI! P P VIII ANNO VI 
 
 18. The Virgin crowned by Jesus Christ, with a number of 
 saints underneath ; a mosaic in the Basilica of S 1 *- Maria Mag- 
 giore in Rome, greatly resembling the one in S la - Maria Trastavere, 
 given under No. 6. This work was commenced during the pon¬ 
 tificate of Pope Nicholas IV., by Giacomo Torrite, or da Turrita. 
 The Pope is represented kneeling on one side, and Jacopo 
 Colonna, archpriest of the basilica, on the other. Baldinucci 
 is of opinion that this mosaic was completed by Gaddo Gaddi, at 
 the commencement of the fourteenth century, after the death of 
 Turrita. (Notizie de’ Professori del disegno, vol. i., décennale ii.) 
 
 19. The miraculous appearance of the Virgin; a mosaic in 
 the Basilica of S ,a - Maria Maggiore, attributed to Gaddo Gaddi 
 by Vasari ; but an inscription discovered since his time, attri¬ 
 butes it to Philippus Rusuti, a master hitherto unknown. The 
 two heads marked with stars are given on a larger scale. 
 
 20. St. Peter; a celebrated mosaic from a drawing by Giotto 
 in the portico of the Church of St. Peter at Rome, executed about 
 the year 1340 from the portico of old St. Peter. (Vasari, Vite, &c., 
 vol. i., p. 48. Ciampini, Vetera Monimenta, vol. iii., p. 76.) 
 
MINIATURE PAINTINGS IN MANUSCRIPTS. 
 
 PLATE XIX. 
 
 MIXATURE PAINTINGS IN A GREEK MANUSCRIPT OF THE BOOK OF GENESIS, IN THE IMPERIAL LIBRARY 
 AT VIENNA. FOURTH OR FIFTH CENTURY. 
 
 1. Jacob blessing his grandsons, Ephraim and Manasseh, in j 
 the presence of their father and mother; traced from the original. I 
 (Ibid, chap, xlviii., v. 17-19.) 
 
 2. The first line of the seventh page of the manuscript, 
 chap, xiv., v. 17, “ And the King of Sodom went out to meet 
 him;” carefully traced from the original. 
 
 3. Another specimen of the character used in the manuscript, 
 
 “ And when Jacob had made an end of commanding his sons 
 (Ibid, chap, xlix., v. 33) ; also carefully traced from the 
 original. 
 
 4. Adam and Eve, after having eaten of the forbidden fruit, 
 discover their nakedness. (Ibid, chap, iii., v. 6-8.) 
 
 5. God curses the Serpent, drives Adam and Eve out of 
 Paradise, and places an angel at the entrance of the garden with 
 a flaming sword in the form of a wheel. (Ibid, chap, iii., 
 v. 24.) 
 
 6. Rebecca meeting Abraham’s servant at the well, gives 
 him and his camels to drink. (Ibid, chap, xxiv., v. 15-18.) 
 The figure leaning on the urn represents the nymph of the 
 foimtain. 
 
 7. Isaac goes to Abimelech, king of the Philistines, with 
 his wife Rebecca, whom he represents as his sister. Abimelech 
 sees him sporting with Rebecca from a window, and reproaches 
 him with his deception. (Ibid, chap, xxvi., v. 8-10.) 
 
 8. Laban, with his brethren, pursues Jacob and overtakes 
 
 him on Mount Gilead, where he had pitched his tent. (Ibid, 
 chap, xxxi., v. 23-35.) 
 
 9. Joseph relating the dream in which the sun, moon, and 
 stars made obeisance to him, to his father, mother, and brethren ; 
 the latter are seen in the lower part of the subject tending their 
 flocks. 
 
 10. Israel sends Joseph to his brethren ; he meets them at 
 Dothan; they conspire to slay him. Joseph’s road is marked by 
 a sort of milestone, the first of which is pointed out by his 
 guardian angel. 
 
 11. Joseph and Potipliar's wife. 
 
 12. Potipliar’s wife accuses Joseph, and shows the garment 
 he left in her hand. 
 
 13. The fulfilment of the dreams interpreted by Joseph; 
 the chief butler is restored to his situation and gives the cup 
 into Pharaoh’s hand, whilst the chief baker is hanged on a tree 
 and becomes food for the birds. 
 
 14. Joseph interpreting Pharaoh's dream. 
 
 15. Jacob blesses his children and dies. 
 
 16. Joseph embraces his father, has him embalmed, and 
 buried in the Cave of Machpelah. This manuscript, which is 
 nearly square in form, is one of the most valuable in the imperial 
 library at Vienna. It consists of twenty-six sheets of parchment 
 with eighty-eight miniatures; the text is chiefly in gold and 
 silver. 
 
PLATE XX. 
 
 MINIATURE PAINTINGS FROM THE VIRGIL OF THE VATICAN, A LATIN MANUSCRIPT OF THE 
 FOURTH OR FIFTH CENTURY. 
 
 1. A cow looking on at bulls fighting. (Georgicorum, lib. 
 in., v. 217.) 
 
 2. Shepherds watering their flocks. (Ibid, lib. iii., v. 327.) 
 
 3. The old man tending his garden. (Ibid, lib. iv., v. 125.) 
 
 4. The labours of the Cyclops. (Ibid, lib. iv., v. 174.) 
 
 5. Orpheus descends to the infernal regions in search of 
 Eurydice ; he looks behind him in disobedience to the com¬ 
 mands of Proserpine, and loses her for ever. (Ibid, lib. i., 
 v. 475.) 
 
 6. Eurydice dies from the bite of a serpent. (Ibid, 
 lib. iv., v. 459.) 
 
 7. Æneas, guided by Achates, inspects the building of 
 Carthage. (Æneid, lib. i., v. 419.) 
 
 8. The first meeting of Dido and Æneas. (Ibid, lib. i., 
 v. 594.) 
 
 9. Venus commanding Cupid to assume the form of the 
 sleeping Ascanius. (Ibid, lib. i., v. 657.) 
 
 10. Laocoon and his two sons destroyed by serpents, sent by 
 Minerva. (Ibid, lib. ii., v. 201.) 
 
 11. Sinon opens the side of the wooden horse, from which 
 the Greeks issue and take possession of Troy. (Ibid, lib. ii., 
 y. 250.) 
 
 12. Hector appearing to Æneas in a dream. (Ibid, lib. ii., 
 v. 268.) 
 
 13. Creusa entreating Æneas not to join the war against 
 the Greeks, and Ancliises returning thanks for the good omen 
 of the flame kindled in the hair of Ascanius. (Ibid, lib. ii., 
 v. 671 et seq.) 
 
 14. Æneas sacrificing to Venus on the shores of Thrace ; he 
 breaks a branch from the tree over the tomb of Polydorus, from 
 which drops of blood issue. (Ibid, lib. iii., v. 19.) 
 
 15. The fleet of Æneas landing at Crete. (Ibid, lib. iii., 
 v. 124.) 
 
 16. The Penates of Troy appearing to Æneas in a dream. 
 (Ibid, lib. iii., v. 147.) 
 
 17. Æneas off the eastern coast of Sicily. (Ibid, lib. iii., 
 v. 687.) 
 
 18. Dido sacrificing to Ceres, Apollo, Bacchus, and Juno. 
 (Ibid, lib. iv., v. 56.) 
 
 19. Some of the buildings erected by Æneas at Carthage. 
 This subject is given entire by P. S. Bartoli. (Virgilii frag¬ 
 menta, p. 84 ; Romæ, 1741. Æneid, lib. iv., p. 259.) 
 
 20. Dido reproaching Æneas on hearing of his intended 
 departure. (Æneid, lib. iv., v. 304.) 
 
 21. The despair of Dido at the departure of Æneas. (Ibid, 
 lib. iv., v. 584.) 
 
 22. Dido stabs herself on a funeral pile. (Ibid, lib. iv., 
 v. 642.) 
 
 23. Dido expiiing on the pile, surrounded by her women. 
 (Ibid, lib. iv., v. 663.) 
 
 24. Boat races at the festivities given by Æneas, in rendering 
 funeral honours to his father Anchises. (Ibid, lib. v., v. 114.) 
 
 25. Menœtes thrown into the sea by Gyas. (Ibid, lib. v., 
 v. 151.) 
 
 26. Æneas leaving the coast of Sicily. (Ibid, lib. v., v. 782.) 
 
 27. Æneas visits the Temple of Apollo at Cumea, accom¬ 
 panied by the faithful Achates. (Ibid, lib. vi., v. 45.) 
 
 28. Æneas sacrifices four bulls to Hecate, a black sheep to 
 Eumenides, and a barren cow to Proserpine. (Ibid, lib. vi., 
 v. 243.) 
 
 29. Æneas conducted to hell by the Sibyl; he meets a 
 crowd of monsters at the entrance. (Ibid, lib. vi., v. 273.) 
 
 30. After the Sibyl has put Cerberus to sleep, Æneas 
 penetrates into hell, and sees Minos judging mankind by the 
 urn of fate. (Ibid, lib. vi., v. 417.) 
 
 31. Æneas, guided by the Sibyl, meets Deiphobus, whose 
 figure is nearly obliterated; Tisiphonus, the guardian of hell, 
 sits at the entrance with a torch in his hand. (Ibid, lib. vi., 
 v. 494-555.) 
 
 32. Æneas, after having afiixed a golden branch to the 
 gates of the Elysian fields, enters, and meets Dardanus and 
 Orpheus with his lyre. (Ibid, lib. vi., v. 635.) 
 
 33. Æneas meets the shade of his father Anchises ; souls 
 drinking the waters of Lethe. (Ibid, lib. vi., v. 666-713.) 
 
 34. Æneas and the Sibyl leaving the Elysian fields by the 
 gate of ivory. (Ibid, lib. vi., v. 893.) 
 
 35. The Trojans, favoured by Neptune, pass rapidly by the 
 shores of Circe. (Ibid, lib. vii., v. 10.) 
 
 36. A swarm of bees settling on the laurel tree of Latinus ; 
 Lavinia, sacrificing with her father, is enveloped in flames. 
 (Ibid, lib. vii., v. 59.) 
 
 37. Interview of the Trojan ambassadors with King Latinus. 
 (Ibid, lib. vii., v. 168 and 172.) 
 
 38. Latinus assures the Trojan ambassadors of his friendly 
 intentions, and presents them with valuable horses. (Ibid, 
 lib. vii., v. 274.) 
 
 39. Juno appeals to Alecto, and incites him to destroy the 
 harmony existing between the Trojans and Latins. (Ibid, 
 lib. vii., v. 323.) 
 
 40. Battle between the Trojans and people of Latium, upon 
 the wounding of Sylvia's stag. (Ibid, lib. vii., v. 483.) 
 
 41. Juno destroying the doors of the Temple of Janus. 
 (Ibid, lib. vii., v. 620.) 
 
 42. Æneas meets with the white boar. (Ibid, lib. viii., v. 81. 
 
 43. The ships of the Trojans transformed into sea nymphs, 
 to the great astonishment of Messapus and the Rutuli. (Ibid, 
 lib. Lx., v. 117.) 
 
 44. Messapus besieges the Trojans; Nisus and Euryalas 
 counsel a sally. (Ibid, lib. ix., v. 159.) 
 
 45. Nisus and Euryalas expose the project which they had 
 formed for the attack of the Rutuli. (Ibid, lib. ix., v. 224 et seq.) 
 
 The manuscript from which these miniatures are taken does 
 not contain the whole of Virgil, but there are fifty paintings, of 
 which forty-five are given here ; the other five are now entirely 
 effaced. They were engraved by P. S. Bartoli at the expense 
 of Cardinal Camillo Massimi, a great lover of the arts, in 
 1677, when forty-nine were still discernible, and he added six 
 from another manuscript of Virgil, No. 3867 in the library of 
 the Vatican. This celebrated engraver acquired the elements of 
 drawing in the school of his friend Nicholas Poussin, and 
 applied his knowledge in so masterly a style, that he in a 
 manner embellished everything he copied. 
 
 In another edition of this collection, published in 1725, the 
 plates are given without the text, but a short description of 
 the subjects is added in prose; it bears the following title :— 
 
 “ P. Virgilii Maronis opera quæ supersunt, ex antiquo codice 
 Vaticano, ad priscam imaginum formam incisa, à Petro Sancte 
 Bartoli, in bibliotheca Camilli Cardinalis Maximi, diu servata, 
 et demum, permissu Marchionis Camilli Maximi, typorum im- 
 pressione pandita, 1725.” 
 
 Paîntiso F 
 
PLATE XX.— (Continued.) 
 
 In 1741, Bottari published another edition of parts of this 
 work, entitled “ Antiquissimi Virgiliani codicis fragmenta et 
 picturæ, ex bibliotheca Yaticana ad priscas imaginum formas à 
 Petro Sancte Bartoli musæ ; Roinæ ex Chalkographia, R. C. A. 
 Apud pedem marmoreum ; anno 1741, fol.” The plates are 
 retouched, but the edition is excellent ; the editor enumerates 
 forty-five other manuscripts of Virgil in the library of the 
 Vatican. 
 
 Bartoli’s plates, again retouched, were used for the illustra¬ 
 tion of a translation of Virgil, published in 1763, under the fol¬ 
 lowing title :—“ P. Virgilii Maronis Bucolica, Georgica et 
 Æneis, ex codice Mediceo Laurentiano descriptæ, ab Antonio 
 Ambrogio Florentiuo. S. J. Italico versu redditæ, adnotationibus 
 atque variantibus lectionibus, et antiquissimi codicis Vaticani 
 picturis, pluribus aliis veterum moniunentis ære incisis, et claris- 
 simorum vivo rum dissertationibus illustrate; Romæ, 1763.” 
 (J. Zempel, 3 vols, fol.) 
 
 Some plates were published with this translation from 
 
 manuscripts in the Collegio Romano of a later date. In 1782, 
 another edition of the two manuscripts of Virgil in the Vatican 
 was undertaken at Rome, by the bookseller Moldini, who again 
 made use of Bartoli’s plates ; it bore the following title :— 
 
 “ Picturæ antiquissimi Virg., cod. Vat. a P. S. Bartoli 
 ære incisæ ; accedunt ex insignioribus Pinacothecis picturæ 
 aliæ vetere, gemmæ et anaglypha, quibus celebriora Virgilii loca 
 illustrateur, compendiosa explicatione apposita ad cxxiv. 
 singulas tabulas; Romæ, 1782, apud Venantium Monaldini 
 bibliopolam in via cursus, fol.” This work which promised so 
 much was never completed. 
 
 The manuscript from which the subjects in this plate are 
 taken is nearly square in form, measuring eight inches one line 
 in length, and seven inches two lines in width. It consists of 
 seventy-five pages, whilst a seventy-eighth is in the celebrated 
 Laurentinian library at Florence. There is not the least trace 
 of ornament on the borders of this manuscript, a style of decora¬ 
 tion which became so universal at a later period. 
 
 PLATE XXI. 
 
 TRACINGS OF THE ORIGINAL ILLUSTRATIONS IN THE VIRGIL OF THE VATICAN. 
 FOURTH OR FIFTH CENTURY. 
 
 1. Eurydice, flying from Aristeus, is bitten by a snake con¬ 
 cealed in the grass, and dies. (Georgicorum, lib. iv., v. 457.) 
 
 2. Orpheus, after having descended to the infernal regions in 
 search of Eurydice, loses her at the moment of leaving, by look¬ 
 ing back in disobedience to the command of Proserpine. (Ibid, 
 lib. iv., v. 475, MS. of the Vat. fol. ix.) 
 
 3. Æneas, guided by Achates, inspects the works undertaken 
 by Dido for the beautifying of Carthage. (Æneid, lib. i., v. 419.) 
 The three subjects on this plate, which have already been given 
 
 on the preceding, are carefully traced from the originals. By 
 comparing these plates with those of P. S. Bartoli, it wall be 
 foimd that with the exception of the ensemble of the composition, 
 they bear no real resemblance, and although the latter may be 
 useful in the studio of the artist, they are unworthy the history 
 of art. The names near some of the figures have been very 
 carefully traced, to give an example of the character used 
 in the manuscript. 
 
PLATE XXII. 
 
 TRACINGS FROM THE ORIGINAL ILLUSTRATIONS IN THE VIRGIL OF THE VATICAN. 
 
 FOURTH OR FIFTH CENTURY. 
 
 1. Laocoon, the priest of Neptune, with his two sons, destroyed by serpents, in consequence of his refusal to admit the 
 horse consecrated to Minerva into Troy. (Æneid, lib. v., v. 201.) 
 
 2. The traitor Sinon opening the side of the wooden horse for the Greeks to take possession of Troy. (Ibid, lib. ii., v. 250.) 
 

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PLATE XXIV. 
 
 CONTINUATION OF THE TRACINGS FROM THE VIRGIL OF THE VATICAN. FOURTH OR FIFTH CENTURY. 
 
 1. Dido reproaching Æneas with his perfidy. (Æneid, lib. iv., v. 304.) 
 
 2. Dido on the funeral pile. (Ibid, lib. iv., v. 663.) 
 
 3. Æneas, descending to the infernal regions under the guidance of the Sibyl, is horrified at the monsters he meets on 
 entering : the Hydra, the hundred-armed Briareus, the Centaurs, the Harpies, the Gorgons, &c. (Ibid, lib. vi., v. 273.) 
 
 Paintino G 
 
PLATE XXV. 
 
 CONTINUATION OF THE TRACINGS FROM THE VIRGIL OF THE VATICAN. FOURTH OR FIFTH CENTURY. 
 
 1. The fleet of the Trojans. (Æneid, lib. vit, v. 10.) 
 
 2. King Latinus receiving the ambassadors of Æneas. (Ibid, lib. vit, v. 168.) 
 
 3. Battle betweeen the Trojans and people of Latium. (Ibid, lib. vii., v. 500.) 
 
exic KM CXI AHA. 
 
PLATE XXVI. 
 
 MINIATURES FROM THE GREEK MANUSCRIPT OF DIOSCORIDES IN THE IMPERIAL LIBRARY AT VIENNA. 
 
 SIXTH CENTURY. 
 
 1. Juliana, daughter of the Emperor Olibrius, grand-daughter 
 ° f the Emperor Valentinien III., and great grand-daughter of 
 the Emperor Theodosius, is represented sitting between Gene, 
 rosity and Prudence. The genius of Wisdom stands near her, 
 and the kneeling figure at her feet represents Gratitude. The 
 letters of her name are given in alternate compartments, with 
 the figures of Genius employed on the arts of Painting, Sculp, 
 tnre, and Architecture. This subject fixes the date of the manu¬ 
 script of Dioscorides, a full account of which can be found in 
 the following works Petri Lambecii, “ Commentaire de biblio¬ 
 theca Vindobonensi,” vol. ii, pp. 211-219; Vindobonm, 1665. 
 Monfaucon, “ Paleographia Grace/’ pp. 195-211. Ducange, 
 
 “ De inférions ævi numismatibus,” No. ix. 
 
 2. A painting from the same manuscript, representing In¬ 
 vention, EYPE2I2. She is holding a plant called mandragora, 
 which, from its resemblance to the human form, has given rise 
 to innumerable fables. The artist is painting it, and the natu- 
 ralist describing it; the latter is probably intended for Diosco- I 
 
 rules himself; on one side of the painting there is a large blue 
 snake, and on the other two vipers. 
 
 3. A painting found on the wall in the interior of a house at 
 Pompeii. (Antiquités d'Herculanum, vol. v., pi. i.) It is 
 given here on account of the similarity to the preceding subject. 
 It is supposed to. represent the atelier of the celebrated Lala of 
 Cyzicus (virgo perpétua), whom Pliny numbers among the most 
 distinguished female painters. She exercised her talent in the 
 time of Varro, with the greatest success both at Rome and 
 Naples. (Plinius, lib. xxxv., cap. xi.) In consequence of the 
 words “perpétua virgo” having been rendered by “vestal,” it 
 is believed that the statue of a vestal in the Justinian gallery 
 was dedicated to this artist. Sandrart has published an engra- 
 vmg of this subject in his “ Academia nobillisimæ artis pic¬ 
 torial;” Norimbergm, 1683, fob, pi. G„ p. 82. Cyzicus, the 
 native town of Lala, was a large city of Asia Minor; Caylus, in 
 his “Recueil d' Antiquités,” has left a learned treatise on the 
 inscriptions found among the ruins, the buildings, Ac., Ac. 
 
PLATE XXVII. 
 
 * 
 
 MINIATURE PAINTINGS FROM A SYRIAN MANUSCRIPT IN THE LIBRARY OF S. LORENZO AT FLORENCE. 
 
 SIXTH CENTURY. 
 
 1. The ascension; Christ is represented ascending to Heaven 
 in a fiery chariot, the upper part of which is supported by two 
 angels, and the lower, by the symbols of the evangelists and by 
 wings studded with eyes. Underneath, two angels appear to be 
 explaining the miraculous event to the Virgin and Apostles. 
 Ciampini rejects the idea that the various letters and monograms 
 on the dresses had any peculiar signification, and considers that 
 they were only the marks of the manufacturers of the material. 
 (Ciampini, Vetera Monimenta, vol. L, cap. xiii.) 
 
 2. A page of the same manuscript, given in a reduced size 
 to show the arrangement of the text and decoration ; a great 
 variety of birds are included in the latter. The principal subject 
 on this page is “ the annunciation.” 
 
 3. Another page of the same manuscript, with portraits of 
 the collators of the Syrian manuscript, with other Greek and 
 Latin manuscripts. 
 
 4. Specimens of the various kinds of writing used in the 
 manuscript, from careful tracings of the original. 
 
 5. Christ on the cross between the two thieves, given in 
 reduced size to show the ensemble of the composition. Among 
 other peculiarities of this painting, the soldiers at the foot of the 
 cross, instead of casting lots for the vesture of Christ, are playing 
 at Mora, a game still common with the people of Italy. This 
 Syrian manuscript is one of the most valuable in the library of 
 S. Lorenzo. It is No. 56 of the first Pluteus, a kind of reading 
 desk to which the manuscripts in this library are fastened with 
 small chains. Assemanni, in his catalogue of oriental manuscripts* 
 in this library, published in 1742, describes this one thus: 
 
 « Vetus testamentum Syriacum, codex membranaceus, in 4to, 
 constat paginis 154, Chaldaicis, rotundis, vetustissimisque 
 Syrorum characteribus exaratus, sæculo Christi circiter 6to 
 uti ex characterum forma et vetustate licet inferre.” 
 
 Biscioni, who also published a catalogue of oriental manu- 
 scripts, mentions this Syrian manuscript thus:—“Codex evan- 
 geliorum Syriacus antiquissimis letteris capitalibus scriptus, sine 
 punctis vocalibus, anno 586 ; cum harmonia evangelica Ammonii 
 et Eusebii, et miniaturis, quæ etiam in superiori codice Syriaco 
 evangeliorum sunt, picturisque veteris et novi testamenti: hie 
 codex verè inæstimabilis, optimè scriptus est et conservatus; 
 unicum tantum in principio folium deest ; annos habet 1066, 
 MS. fol. Syr.” Bandini, librarian of S. Lorenzo, adds the 
 following note :—“ Codice più raro di questo non so che altrove 
 
 si trovi ; non vi si legge la storia dell’ adultéra ; non vi si inter¬ 
 préta le parole, ‘ Lama Sabacthani,’ egli è seritto sotto Pelagio 
 II. e 1‘imperadore Maurizio Tiberio.” 
 
 Montfaucon, speaking of this manuscript, says,—“ Antiquitas 
 codicis raro aliam parem inveniet, cum superet millessimum.” 
 (Bibliotheca Bibliothecarum manuscriptorum nova, 2 vols. fol. ; 
 Paris, 1739, vol. L, p. 243.) 
 
 Assemani, from a note at the bottom of the manuscript, tells 
 us that the four gospels which it contains are written in Syriac 
 in the Monastery of St. John at Zagba, city of Mesopotamia, in 
 the year 586, by the writer Rabula ; and that this manuscript 
 was, in the eleventh century, carried to the Convent of S‘“- Maria 
 Maiphuk, afterwards to that of S“- Maria de Kannubin, where 
 it remained until the year 1497, when it passed into the library 
 of the Medici at Florence. 
 
 This manuscript is written on parchment, and contains 
 twenty-six, miniature paintings; one page appears to have 
 been added at a much later period by another hand, because 
 it is mitten upon a silk paper, the use of which does not 
 remount beyond the eleventh century. The different posses¬ 
 sions of the monastery are enumerated on the margins. The 
 custom of the monks, of the east as well as the west, of 
 specifying their possessions in sacred books, was to give them 
 additional security, as any one who injured or destroyed such 
 writings was threatened with excommunication :—“ Quicunque 
 eumdem abstulerit, vel ab eo paginam vel scriptam vel non 
 scriptam abstraxerit, vel ipsam legendo feedaverit, inter viola- 
 tores sanctuarii admuneretur.” 
 
 The transcribers of manuscripts generally added a note at 
 the end of the work on their own account. In this Syrian 
 manuscript the author begs that the reader will pray for him:— 
 “ Ut consequar misericordiam in die tremendi judicii, quem- 
 admodum latro a dextris misericordiam obtinuit.” 
 
 The Arabic scribes had a similar custom ; in a manuscript of 
 the Koran, we find the following:—“Absolvit descriptionem 
 libri excelsi, in quem error cadere non potest, servus, imbecillus 
 et miseratione Dei indigens, Ahnalech-Alvahab ben Sciamus 
 Eddin de Ilamdam ; anno Hegiræ 898.” (Assemanni, p. 46.) 
 
 At the end of a code of Mahommedan laws, written in 1520, 
 the Turkish writer says:—“ Explicit Dei ope liber iste Bene- 
 dictus. . . faxit Deus optimus maximus ut Moslemanici nominis 
 hostes ubique dispereant ! ” (Assemanni, p. 308.) 
 

■ 
 
PLATE XXV III. 
 
 MINIATURE PAINTINGS IN A GREEK MANUSCRIPT, CONTAINING PART OF THE HISTORY OF JOSHUA, 
 IN THE LIBRARY OF THE VATICAN. SEVENTH OR EIGHTH CENTURY. 
 
 1. The spies sent by Joshua to Jericho escape from their 
 pursuers. (Josh., chap, ii., v. 22.) 
 
 2. Joshua following the ark of the covenant. (Ibid, 
 chap. iiL, v. 14.) 
 
 3. The passage of the Jordan; the personification of the 
 river Jordan, above the ark, is given, of the original size, in 
 pi. xxix., No. 1. (Ibid, chap, iii., v. 17, and chap, iv., v. 9.) 
 
 4. A man from each of the twelve tribes of Israel taking a 
 stone from the bed of the Jordan and pitching it in Gilgal as a 
 memorial. (Ibid, chap, iv., v. 20.) 
 
 5. The Israelites, after passing over the Jordan, encamp at 
 Gilgal; the personification of the town is seen above. (Ibid, 
 chap, iv., v. 19.) 
 
 6. Joshua circumcises the children of Israel. (Ibid, chap, v., 
 v. 2, 3.) 
 
 7. The vision of Joshua at Jericho ; this town is personified 
 by a female figure. (Ibid, chap, v., v. 13-16.) 
 
 8. The fall of Jericho. For six days the Israelites compassed 
 the city of J ericho with the ark of the covenant at their head ; 
 on the seventh day, after having compassed the city seven times, 
 the walls fell at the sound of trumpets. The figure in front 
 personifies the city given over to despair. (Ibid, chap, vi., 
 v. 12-21.) 
 
 9. Joshua sends spies from Jericho to Ai; this town is 
 personified by a sitting figure. (Ibid, chap, vii., v. 2.) 
 
 10. The spies sent by Joshua assure him that from two to 
 three thousand men would be enough to take the town of Ai. 
 (Ibid, chap, vii., v. 3.) 
 
 11. Three thousand Israelites are repulsed with great loss at 
 Ai. (Ibid, chap, vii., v. 4, 5.) 
 
 12. Joshua and the elders of Israel bow down before the 
 Lord, who commands that Achan should be punished for having 
 appropriated part of the spoil at Jericho. (Ibid, chap, vii., 
 v. 6-11.) 
 
 13. After having confessed his sin to Joshua, Achan is led 
 to the valley of Achor and stoned to death. The figure in the 
 upper part of the subject personifies the river running tlirough 
 the valley of Achor. (Ibid, chap, vii., v. 19-26.) 
 
 14. God appears to Joshua and commands him to attack 
 
 Ai again; he moves thither with Iris whole army, takes the 
 town, and burns it. (Ibid, chap, viii., v. 1-28.) 
 
 15. The King of Ai is condemned to be hanged by Joshua. 
 (Ibid, chap, viii., v. 23-29.) 
 
 16. Joshua builds an altar on mount Ebal, and offers 
 sacrifice, after his victory over the King of Ai. The reclining 
 figure personifies mount Ebal. (Ibid, chap, viii., v. 30-31.) 
 
 17. The ambassadors from Gibeon seek Joshua in his tent 
 at Gilgal, and pretend that they come from distant parts to form 
 an alliance with him. (Ibid, chap, ix., v. 3-15.) 
 
 18. Joshua discovers the trick of the Gibeonites, but forgives 
 them on condition of their being subject to the Israelites for 
 ever. (Ibid, chap, ix., v. 22-27.) 
 
 19. Joshua commanding the sun and moon to stand still 
 that he may have time to complete his victory over the 
 Amorites. The figure in front personifies the town of Gibeon. 
 (Ibid, chap, x., v. 12, 13.) 
 
 20. Joshua commands great stones to be rolled to the mouth 
 of the cave of Makkedah, where the five kings of the Amorites 
 have hidden themselves. (Ibid, chap, x., v. 17, 18.) 
 
 21. Joshua commands the people of Israel to put their feet 
 on the necks of the five kings of the Amorites, and then has 
 them hanged on five trees. (Ibid, chap, x., v. 23-26.) 
 
 22. Specimen of the written character used in the manuscript. 
 
 23. Specimen of capital letters used in the manuscript. 
 
 This veiy curious Greek manuscript, or rather long roll, 
 
 belonged originally to the library of the Palatinate at Heidel¬ 
 berg, and, although now in the library of the Vatican, No. 405, 
 is but little known. Montfaucon does not appear to have been 
 aware of its existence. It consists of fifteen sheets of parchment 
 of various lengths, joined together, measuring thirty-two feet 
 two inches in length, and eleven and a half inches in width. 
 It probably contained the whole history of Joshua originally ; 
 the latter part is now wanting. The subjects are not always 
 treated exactly to the letter of Scripture, as can be seen by 
 the inscriptions to the two following plates. From the style 
 and composition of the paintings, we should be inclined to 
 attribute this manuscript to the seventh rather than the eighth 
 century. 
 
 PiUNXINO H 
 
PLATE XXX. 
 
 TRACINGS FROM THE SAME MANUSCRIPT. SEVENTH OR EIGHTH CENTURY. 
 
 1. Joshua commanding the sun and moon to stand still; 
 ch. x., v. 12,13.) 
 
 Greek inscription underneath explains the subject. (Josh., 
 
 2. The town of Gibeon. personified by a female figure sitting with a sort of sceptre in her hand: the deep anxiety with 
 whteh she contemplates the strife is well expressed. In considering these compositions we must observe that, although 
 belonging to the period of the decline of art. they offer examples of those ingenious allegories by means of which the 
 ancients knew how to give life and soul to everything. 
 
PLATE XXXI. 
 
 A SELECTION OF MINIATURE PAINTINGS FROM A GREEK MENOLOGE IN THE LIBRARY OF THE VATICAN. 
 NINTH AND TENTH CENTURIES. 
 
 1. An alphabet of the character used in this menologe. 
 
 2. Christ in the Jewish synagogue, showing where his sacred 
 mission is announced in these words: “The spirit of the Loid 
 is upon me, because he hath anointed me to preach the gospel 
 to the poor ; he hath sent me to heal the broken-hearted, to 
 preach deliverance to the captives and recovery of sight to the 
 blind, to set at liberty them that are bruised, to preach the 
 acceptable year of the Lord.”—Luke, chap, iv., v. 18, 19- 
 (Menologium Græcorum; Urbini, 1727, 2 vols.) 
 
 3. St. Eustace, his wife, and two children, who were burned 
 to death in a brazen bull. (Ibid, vol. i., pi. liii., p. 55.) 
 
 4. S 1 -- Xantippe, wife of Probus, prefect of Spain, in the 
 time of Claudius, and S*"- Polyxena, her sister. (Ibid, vol. i., 
 pi. lxiii., p. 65.) 
 
 5. The Virgin appearing to St. Romanus : he was a deacon 
 of the Church at Beyrout, and the author of some sacred 
 Canticles, in the time of the Emperor Auastasius. (Ibid, vol. i., 
 pi. lxxviii., p. 82.) 
 
 6. Pelagia, a woman of bad character, who was converted by 
 St. Nonnus, and entered a convent at Jerusalem. (Ibid, vol. i., 
 pi. xcviii., p. 102.) 
 
 7. The eunuch of Candace, queen of Ethiopia, converted 
 and baptized by the Apostle Philip. (Ibid, vol. i., pi. cvii., p. 111.) 
 
 8. The death of St. James, brother of Jesus Christ, first 
 bishop of Jerusalem. (Ibid, vol. i., pi. cxxxi., p. 135.) 
 
 9. The Archangel Michael. (Ibid, vol. i., pi. clxviii., p. 174.) 
 
 10. The martyrdom of St. Orestes, who was bound to a wild 
 horse in the time of Diocletian. (Ibid, vol. i., pi. clxxii., p. 178.) 
 
 11. Joachim and Anna taking the Virgin to the temple, 
 where she is received by the high priest Zacharias, and tended 
 by an angel, until her twelfth year. (Ibid, vol. i., pi. cxcviii., 
 p. 204.) 
 
 12. St Licinius, bishop of Cyzicus, beheaded in the time of 
 the Emperor Justinian. (Ibid, vol. i., pi. ccii., p. 208.) 
 
 13. St. John Dainascenus, and Cosmas his pupil, both monks, 
 and authors of theological works ; they lived in the time of Leo 
 the Isaurian, and his son Constantinus Copronymos. (Ibid, 
 vol. i, pi ccxiii., p. 219.) 
 
 14. Martyrdom of St. Ananias; two angels appear to him 
 and point out the road to heaven. (Ibid, vol. ii., pi. ccxvii., p. 3.) 
 
 15. The conception of St. Anna, mother of the Virgin. 
 (Ibid, vol. ii., pi. ccxxix., p. 15.) 
 
 16. The three youths, Hannaniah, Mishael, and Azariah, 
 saved in the fiery furnace by an angel, afterwards beheaded by 
 order of Nebuchadnezzar. (Ibid, vol. ii., pi. ccli., p. 36.) 
 
 17. The Avise kings, conducted by an angel, offer presents to 
 the infant Jesus. (Ibid, vol. ii., pi. cclxxii., p. 57.) 
 
 18. The flight into Egypt. (Ibid, vol. iv., pi. cclxxiv., p. 59.) 
 
 19. Martyrdom of St. Zeno, St Dorothea, St. Mardonius, and 
 their companions, in the reign of Diocletian. (Ibid, vol. ii., 
 pi. cclxxx., p. 65.) 
 
 20. The massacre of the Innocents, by order of Herod. 
 (Ibid, vol. ii., pi. cclxxxi., p. 66.) 
 
 21. St. Melanie enters a convent in Rome, after dividing 
 her possessions among the poor, and inducing her husband to 
 become a monk. She lived in the reign of Honorius. (Ibid, 
 vol. ii., pi. cclxxxv., p. 71.) 
 
 22. The husband of St. Melanie entering a monastery, in 
 compliance with her request and example. (Ibid, vol. ii., 
 pi. cclxxxvi., p. 72.) 
 
 23. Joseph and Mary taking the infant Jesus to be circum¬ 
 cised. (Ibid, vol. ii., pi. cclxxxvii., p. 74.) 
 
 24. Jesus baptized in Jordan by John the Baptist. (Ibid, 
 voL ii., pi. eexeix., p. 86.) 
 
 25. Martyrdom of St. Juna, St. Rima, and St. Prima, who 
 were frozen to death. (Ibid, vol. ii., pi. cccxxxvii., p. 124.) 
 
 26. A religious ceremony established by Theodosius the 
 younger, in remembrance of an earthquake which took place in 
 his reign. (Ibid, vol. ii., pi. cccl., p. 137.) 
 
 27. St. Xenophon, his wife, and two sons. (Ibid, vol. ii., pi. 
 cccli., p. 138.) 
 
 28. Martyrdom of St. Victorinus in the reign of the Emperor 
 Decius. (Ibid, vol. ii., pi. ccclxi., p. 148.) 
 
 29. St. Sylvanus, bishop of Emessa, with his companions, 
 devoured by wild beasts. (Ibid, vol. ii., pi. ccclxxvi., p. 165.) 
 
 30. The crucifixion of St. Martha and St. Mary, and the 
 beheading of the monk Lycarion. (Ibid, vol. ii., pi. ccclxxxv., 
 p. 174.) 
 
 31. St. Paphnucius, a hermit, and St. Euphrosine, his sister. 
 (Ibid, vol. ii., pi ccccii, p. 191.) 
 
 32. The crucifixion of St Nestor. (Ibid, vol ii, pL ccccxxvii, 
 
 p. 216.) 
 
 33. St Thalelæus, an anchorite of Silesia (Ibid, voL n., 
 pL ccccxxviii, p. 217.) 
 
 34. Lines at the commencement of the menologe, from a 
 very careful tracing ; they are translated thus : 
 
 Qui autem liuno modis exprimit 
 Rex tolius terræ, sol purpune, 
 
 Basilius fasciarum alumuus, 
 
 Pnestantissimus in utroque, tropæis et verbis ; 
 
 Tanquam alterilm certe ccelum, fncieus librum 
 Ex pellibus extensum, uti se habit natura, 
 
 Ferentem, velut luminaria, venustas figuras. 
 
 (Ibid, vol. i., p. 1.) 
 
 The capital letters are of gold with coloured edges. 
 
 This menologe is one of the most valuable manuscripts in the 
 i library of the Vatican. It contains four hundred and thirty 
 | miniature paintinga The engraving of this work, with a Latin 
 translation, was commenced by Pope Clement XI., continued 
 by his two successors, Innocent XIII. and Benedict XIII., 
 completed by his nephew Annibale Albani, and published 
 under the following title Menologium Græcorum, jussu 
 Basilii imperatoris Græce olim editrnn .... munificentia et 
 liberalitate S. D. N. Benedicti XIII., nunc primum Græce et 
 Latine prodit,” etc.; Urbini, 1727, 3 vols. fol. 
 
 The words at the commencement of the manuscript, “ Rex 
 totius terræ, sol purpuræ Basilius,” etc., prove that the work 
 I was executed for air Emperor Basilius, we should think most 
 I probably for Basilius II. Porphyrogenites, in the tenth century, 
 
 ' w ho could say of himself, in the words of the son of Marcus 
 ■ Aurelius, “ Imperatoria purpura me suscepit simulque sol 
 j hominem me vidit et principem.” (Herodianus, Hist., lib. 1.) 
 
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MINIATURES IN THE GREEK MENOLOGE OE THE VATICAN, TRACED FROM THE ORIGINAL. 
 NINTH OR TENTH CENTURY. 
 
 1. The seventh synod, held in the year 787, in the presence 
 of the Emperor Constantine, son of the Emperor Leo, and the 
 Empress Irene. This prince is represented sitting on a raised 
 seat near the altar, with a stool (suppedaneum) under his feet ; 
 St. Taraisus, the patriarch of Constantinople, with bishops and 
 fathers of the council, sit around. The extended figure in the fore¬ 
 ground probably represents the heresy of the Iconoclasts, which 
 was anathematised at this council. This miniature is the work of 
 Pantaleon, one of the artists employed in the illumination of the 
 manuscript; his name is written at the side. (Menologium 
 Græcorum ; Urbini, 1727, vol. i., pi. cviii., p. 112.) 
 
 2. Death of St. Dorotheus, archbishop of Tyre, who suffered 
 martyrdom during the reign of Julian the Apostate, by a 
 painter of the name of George. (Ibid, vol. i., pi. ci., p. 105.) 
 
 3. The beheading of St. Lais, a virgin of Alexandria, by the 
 painter Michael Blachernita, an abridgment of whose name is 
 written above. (Ibid, vol. i., pL brii., p. 64.) 
 
 4. Martyrdom of St. Eustratius and his companions, during 
 the reign of the Emperors Maximian and Diocletian. The name 
 of the painter of this subject is Nestor, one of those who con¬ 
 tributed the most to the beautifying of tbis manuscript. (Ibid, 
 vol. ii., pi. ccxli., p. 26.) The outline of these four compositions, 
 as also the four on the following plate, have been carefully 
 traced from the originals, and if the trouble is taken to compare 
 them with those of the Urbini edition, a great difference will be 
 discovered. The estimable editor of this splendid work has not 
 been quite careful enough in some of the details; we have, there¬ 
 fore, added the names of the painters, as written in the original, 
 which he has omitted. These names serve to point out the 
 peculiarities and manner of each painter who worked at these 
 miniatures, as far as the general style will allow ; there were 
 eight, whose names were Pantaleon, Simeon, Michael Blacher¬ 
 nita, George, Maenas, Simeon Blachernita, Michael Mikros, and 
 Nestor. 
 
PLATE XXXIII. 
 
 TRACINGS FROM THE ORIGINAL MINIATURES IN THE GREEK MENOLOGE OF THE VATICAN. 
 NINTH OR TENTH CENTURY. 
 
 1. The martyrdom of St. Ignatius, bishop of Antioch, in the amphitheatre at Rome, during the reign of Trajan, by 
 Michael Mikros. (Menologium Græcorum, vol. ii., pi. cclviii., p. 43.) 
 
 2. The birth of the Virgin, by Maenas. (Ibid, vol. i., pi. xxii., p. 24.) 
 
 3. St. Amphilochus, bishop of Iconium, by Nestor. (Ibid, vol. i., pi. cxxiii., p. 127.) 
 
 4. The birth of Christ, by Nestor. (Ibid, vol. ii., pi. cclxxi., p. 56.) 
 
PLATE XXXTV. 
 
 MINIATURES FROM THE CHRISTIAN TOPOGRAPHY OF COSMAS, A GREEK MANUSCRIPT OF THE 
 LIBRARY OF THE VATICAN. NINTH CENTURY. 
 
 1. Elijah, ascending to heaven in a fiery chariot, leaves his 
 mantle with Elisha. The reclining figure in front represents 
 the river Jordan, near which the event took place. (2 Kings, 
 chap, ii., v. 11, 12.) 
 
 2. Specimen of the capital letters used in this manuscript, 
 from tracings of the original 
 
 3. Specimen of the letters in another manuscript. 
 
 4. A dancer, from the same manuscript, traced from the 
 original. 
 
 5. St. Stephen stoned by the Jews ; in the foreground St. 
 Paul is sitting, before his conversion, guarding the clothes of 
 the murderers. 
 
 6. Another subject from the life of St. Paul, designated by 
 the name underneath : CAYAOC 
 
 This miniature, as well as the preceding, is from the manu¬ 
 script of Cosmas; it is painted in a small size to show the 
 arrangement and composition of these paintings. 
 
 The manuscript of the Christian Topography of Cosmas, 
 from which the contents of this plate are taken, has been trans- 
 slated by Montfaucon into Latin. He also quotes from another 
 of the tenth century, in the library of S. Lorenzo at Florence, 
 No. 699, which he considers to be of a later date. (Paléographie, 
 p. 280.) The translation is in another of his works, viz., 
 “ Collectio nova patrum et scriptorum Græcorum ; ” Paris, 
 1706, 2 vols, fol., vol. ii., p. 113. Both manuscripts are 
 adorned with miniatures, which are more or less happily copied 
 from the original. It is believed that the original was written 
 and painted during the reign of the Emperor Justin, or 
 Justinian, in the year 535. The author of this manuscript 
 
 was bom in Alexandria in Egypt; he was a merchant and 
 great traveller. He travelled through the greater part of the 
 East, and especially through India, by which he obtained the 
 name of Indico-pleustes (Indian traveller). On his return 
 from his travels he became a monk, and wrote this work, among 
 others, to disprove, as he considered them, the erroneous notions 
 of the philosophers who maintained the earth to be a globe. 
 He adorned this work with a great number of paintings 
 connected with the subjects of astronomy, geography, and the 
 sacred history of the Christian religion: the subjects on this 
 plate are selected from the latter. 
 
 The form of this manuscript is a square of one foot two 
 lines ; the parchment is strong rather than polished. Each side 
 is divided into two columns with beautiful borders ; the space 
 between the columns is of the same width in all. The writing 
 is in fine large letters, as seen by the alphabet, No. 2 of this 
 plate. Most of the capital letters are written in gold with red 
 or black, but no other ornament. There are one hundred and 
 twenty-four pages, with about fifty-four paintings;—it appears 
 as if there were some deficiencies in the tenth, eleventh, and 
 twelfth books. With regard to the literary and scientific 
 merit of this manuscript, besides the two works quoted by 
 Montfaucon, the following can be consulted:—Lambeccius, 
 “ Commentaria de bibliotheca Vindobonensi,” lib. iii., cod. 9. 
 Bailly, “Lettres sur l’origine des sciences et sur celle des 
 peuples de l’Asie,” p. 118. “Histoire de l'Astronomie an¬ 
 cienne,” 2nd edit., 1782, p. 520. Robertson, “ An Historical 
 Disquisition concerning the Knowledge which the Ancients 
 had of India.” 
 
PLATE XXXV. 
 
 MINIATURES FROM THE TERENCE OF THE VATICAN, TRACED FROM THE ORIGINALS. 
 NINTH CENTURY. 
 
 1. Portrait of Terence ; this, as well as all other subjects on 
 this plate and the following, are from the celebrated comedies of 
 Terence. This work was taken from the Vatican to the imperial 
 library at Paris, but after the conquest of the French it was 
 returned to the Vatican, No. 3868. This portrait is on the second 
 leaf of the manuscript, and, as well as all the others, traced from 
 the original. 
 
 2. A succession of masks of various kinds used in the 
 theatrical representations of the ancients, and changed by the 
 actor as required. These, here represented, are adapted to the 
 comedies of Terence selected from the manuscript. 
 
 3. The slave Mysis saying the following words aside:— 
 “ Miseram me! quod verbumaudio 1” (Andria, act i., scene v., 
 MS. fol. 7.) 
 
 4. The actor saying the following words in his prologue to 
 Phormio :—“ Date operam, adeste æquo animo per silentium.” 
 (Phormio, prologue, v. 30, MS. fol. 77.) 
 
 5. A scene from the comedy of the Eunuch, between 
 Phædria and Parmeno: — “ Phæd. Fac, itautjussi, deducantur 
 isti.— Parm. Faciam. — Phæd. At diligenter. — Parm. Fiet.— 
 Piiæd. At mature.— Parm. Fiet. — Phæd. Satine hoc mandatum 
 est tibi? —Parm. Ah! rogitare quasi difficile sit!” (Eunuch., 
 act ii., scene i., MS. fol. 21.) 
 
 6. Another scene from the comedy of the Eunuch, where 
 are seen the soldier Thrason, Gnaton the parasite, Donax, 
 Simallion, Syrus, Sanga the cook, Thais the courtezan, Chremes, 
 and another young man. (Eunuch., act iv., scene vii ; MS. 
 fol. 29.) 
 
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PLATE XXXVI. 
 
 TRACINGS FROM SOME OF THE MINIATURES FROM THE TERENCE IN THE LIBRARY OF THE VATICAN. 
 
 NINTH CENTURY. 
 
 1. The slave Davus gives the slave Mysis a child, telling her 
 to put it at the door of the house : —“ Day. Accipe à me hunc 
 ociùs, atque ante nostram januam appone.— Mys. Obsecro, liumi 
 ne 1—Day. Ex arâ hinc sume verbenas tibi, atque eas substerne.” 
 (Andria, activ., scene iii., MS. fol. 14.) 
 
 2. Chremes begs Menedemus to tell him the cause of his 
 grief, and to rest a moment from his work : —“ Chr. Ne lacryma, 
 atque istuc, quidquid est, fac me ut sciam . . . — Men. Dicetur.— 
 Chr. At istos rastros interea tamen appone; ne labora.” 
 (Heauton Timorumenos, act i., scene i, MS. fol. 36.) 
 
 3. Scene from the comedy. Phormio, with Hcgion, Derae- 
 phon, Geta, Phormio Cratinus, and Ciito :—“ Dem. Videtis, quo 
 in loco res hæc siet ; quid ago 1 die Hegio.— Heg. Ego ? C'rati- 
 
 num senseo, si tibi videtur.— Dem. Die, Cratine.— Crat. Mene 
 vis?— Dem. Te.— Crat. Ego quæ in rem tuam sint, ea velim 
 facias, mihi sic hoc videtur,” &c. (Phormio, act ii., scene iii., 
 MS. fol. 82.) 
 
 4. Name of the writer, or rather transcriber, of the comedies 
 of Terence, Hrodgarius ; the letters are traced from the original 
 The letter H, placed before the name Rodgarius, is very general 
 before proper names at this period. 
 
 5. Specimen or alphabet of the capital letters used in this 
 manuscript. 
 
 6. Another specimen of the cursive character of this manu¬ 
 script ; both alphabets are traced from the originals, as also the 
 names and inscriptions by the figures. 
 
 Painting J 
 
PLATE XXXVII. 
 
 MINIATURES OF A LATIN PONTIFICAL IN THE LIBRARY OF MINERVA AT ROME, REDUCED SIZE. 
 NINTH CENTURY. 
 
 1. Institution of the office of porter ; the bishop officiating, 
 accompanied by his clergy, blesses the keys of the church, and 
 gives them back to the porters : “ Tradendo eis claves ecclesiæ 
 Dei." This miniature painting, with those which follow, repre¬ 
 senting the different ordinations, are from a manuscript which is 
 again spoken of below. 
 
 2. The porters cast themselves at the feet of the bishop, to 
 receive his blessing : “ Prosternunter ante Pontificem.” 
 
 3. Ordination of the readers; the bishop gives them the 
 book of the evangelists : “ Tradiclit eis episcopus codicem.” 
 
 4. The readers throw themselves at the feet of the bishop to 
 receive his blessing : “ Deinde prostratis in terram benedicit.” 
 In No. 5 of the following plate a portion of this composition is 
 given in a larger size, traced from the original. 
 
 5. Ordination of the exorcists ; the bishop presents them 
 with a book, or roll, containing their prayers : “ Exorcistis tradit 
 episcopus libellum." 
 
 6. Ordination of the acolytes ; the archbishop presents them 
 with the wax tapers and holy water: “Acolytis tradit episcopus 
 cerostatum.” 
 
 7. Ordination of the subdeacons ; they receive the patena 
 and chalice from the bishop : “ Subdiaconi patenam et calicem." 
 
 8. Ordination of deacons ; the bishop hangs the stole across 
 their shoulders, and lays his hands on them : “ Ponat oraria 
 super humeros.” 
 
 9. The deacons prostrate themselves before the bishop, and 
 receive his blessing : “ Dum in terram prostrati fuerint.” 
 
 10. Ordination of the priests ; the bishop hangs the stole 
 round their necks : “ Oraria super colla eorum.” 
 
 11. They bow their heads for the laying on of hands : 
 “ Super quos inclinatis capitibus benedicit." 
 
 12. Finally, the bishop makes the sign of the cross on the 
 hands of the priests with his right thumb, as in anointing: 
 “ Cum pollice dexteræ faciens crucem.” This subject is given 
 on the following plate, No. 2, of the size of the original. This 
 manuscript, from which the miniature paintings on this and the 
 two following plates are taken, as also some others, is in the 
 cabinet for manuscripts in the library of Minerva at Rome, 
 case 1, letter D ; it is written on parchment tolerably well pre¬ 
 pared. The following plate contains an example of a complete 
 page of the manuscript, from a tracing of the original, and shows 
 at the same time the form of the italics, the peculiar shape of 
 the capital letters, and everything appertaining to the orthography, 
 division, punctuation, accentuation, intricacies of arrangement, 
 and abbreviations; the letters are of what is called the Lombardie 
 form. The great number of paintings and other ornaments 
 prove that tlris manuscript was intended for the use of an exalted 
 personage, and the words “ Landolfi episcopi sum," which is 
 given of the original size in the next plate under No. 3, makes 
 it probable that its possessor was the Archbishop of Capua of 
 that name, who lived about 851 or 879. The following are of this 
 opinion : Ciampini, “ De perpetuo azymorum usu," Dissert. 4to ; 
 Romæ, 1688. Gerbert, “ Vetus liturgia Alemannica.” Mamachi, 
 
 “ Delle origini Christiane." Mabillon, “ Iter Italicum,” p. 70, 
 does not consider it so ancient. The miniature paintings in this 
 manuscript have not been previously published. 
 
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PLATE XXXVIII. 
 
 DETAILS FROM THE PONTIFICAL OF THE LIBRARY 
 
 OF MINERVA, TRACED FROM THE ORIGINALS. 
 
 NINTH CENTURY. 
 
 1. Specimen of cursive writing, with its abbreviations and contractions. 
 
 2. Specimen of an entire side of a manuscript, with a miniature at the commencement and an explanation of the subject, 
 the whoie carefully traced. This painting, given under No. 12 of the preceding plate, represents the bishop anointing 
 the priests with the thumb of his right hand, as signified by the writing, “Deinde cum pollice dexterte sum,” etc. 
 Between two lines of the inscription are little strips of parchment, by means of which some of the leaves of the 
 manuscript are united together ; others are sewn, and some glued. Each of the leaves is ten inches in length and nine 
 in width, forming altogether a roll or volume. 
 
 3. “ LandoM episcopi sum.” These words show that this manuscript belonged to Bishop LandoM, one of the family of 
 the Counts of Capua, who governed this town about the year 851 or 879. 
 
 4. The capital letters A, B, C, D, traced from the originals. 
 
 5. Part of a miniature painting from the 
 from the original. 
 
 same manuscript, given in small sire. No. 4 of the preceding plate, traced 
 
PLATE XXXIX. 
 
 BLESSING THE FONTS ; MINIATURE PAINTINGS FROM A LATIN MANUSCRIPT IN T1IE LIBRARY OF MINERVA 
 AT ROME. NINTH CENTURY. 
 
 1. The title of this, “Benedictio fontis,” shows the subject; 
 it is of the original size. On one side is the ceremony of baptism 
 by immersion, according to the ancient ritual of the church ; on 
 the other, Jesus Christ is represented establishing the sacrament 
 of baptism, and uttering the following words:—“Ite, docete 
 omnes gentes, baptizantes eos in nomine patris et filii et spiritus 
 sancti.” “ Go and teach all people, and baptise them in the 
 name of the Father, and of the Son, and of the Holy Ghost.” 
 (Matt, chap, xxviii., v. 29.) 
 
 2. The four streams which watered the earthly paradise, 
 each represented by a head, from which the water issues. 
 
 3. Another painting of the same manuscript in small size, 
 representing the archbishop, surrounded by his clergy, blessing 
 
 the water in the font. The words of the blessing written at the 
 side, mention the four streams of paradise, represented in the 
 preceding number. 
 
 4. Specimen of cursive writing and capitals used in this 
 manuscript. This manuscript belongs to a volume in the 
 library of Minerva (Case 1, letter D), and contains fourteen 
 miniatures on eight sheets of parchment, not so well prepared 
 as that of the Pontifical. The letters, although a little coarser 
 than those in the Pontifical, are of the Lombard character; from 
 the more rounded form of the letters, it is probable that this 
 manuscript is of rather a later date. The stops and marks over 
 the words appear to be musical notes. 
 
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PLATE XL. 
 
 TITLE-PAGE OF THE BIBLE OF ST. PAUL. A LATIN MANUSCRIPT OF THE NINTH CENTURY. 
 
 1. A painting forming the title-page of a manuscript of the 
 Bible; this Bible is from the archives of the Benedictine Monas¬ 
 tery of St. Paul, and is now among the archives of the same order 
 at St. Galixtus in Rome. Tliis splendid manuscript, the descrip¬ 
 tion of which occupies this and the five following plates, contains 
 the whole of the sacred writings translated by St. Jerome from 
 the original Hebrew into Latin ; it is written on parchment of the 
 best quality. The three hundred and thirty-nine pages altogether 
 measure one foot, four inches, eight lines in length, and one foot, 
 one inch, three lines in width ; the writing is divided into two 
 columns ; each page contains fifty-nine lines, with the space of 
 two lines between each. The various kinds of cursive writing, 
 with the capital and ornamented letters, are given on this and 
 the following plates. The sacred books are divided into chap¬ 
 ters with titles of their contents. The pauses are marked by 
 large coloured capitals, and nearly every sentence begins with a 
 capital of the cursive form, while this distinction is wanting to 
 the proper names ; there is very little punctuation in the manu¬ 
 script, but a sort of mark in the middle divides the sentences ; 
 the i'a are without dots ; there are some of the usual abbre¬ 
 viations, such as Ses., 13ns. Innumerable ornaments, very various 
 and original in form, decorate the front and back of the leaves, 
 and above all the capital letters, which are unequalled both as 
 to size and richness. A specimen is given in No. 1 of pi. lxv., 
 besides which there are many miniatures in the manuscripts 
 given in small size on the two following plates. There is not 
 any tradition as to the time at which this magnificent Bible fell 
 into the hands of the monks of this monastery ; nor does it appear 
 that they ever took the trouble to compare the text with the 
 manuscript of any other Bible. With regard to the painting 
 No. 1 on this plate, given of the original size from a careful 
 tracing, it appears to represent an emperor, or king, sitting on 
 a throne with symbols of power around him ; on his left stands 
 his consort followed by her women, and on his right are two 
 figures or shield-bearers, one of whom carries the imperial sword, 
 the other the shield and lance ; the whole of the figure of the 
 latter could not be given on account of the limited space. The 
 inscription under the painting, and the monogram on the globe, 
 prove the name of this personage to have been Charles; but 
 whether Charlemagne or Charles the Bald, is a disputed point. 
 
 In the description given by Mabillon of this picture (Iter 
 Italicum, p. 70), he mentions a sceptre which this prince held 
 against his breast :—“ Dexterâ protensâ sceptrum pectori appri- 
 mens ; ” but it is evident that he was deceived, as what he took 
 from a sceptre is notliing more than an embroidered border to 
 the dress set with precious stones. He also forgot to mention 
 the two angels in the act of adoration near the four virtues over 
 the head of the Emperor, as seen in No. 1 of the following plate, 
 where the whole of this subject is given in a small size. 
 
 2. An inscription in the barbarous verse of that period, con¬ 
 taining a description of the painting. Mabillon, in his “ Iter 
 Italicum,”pp. 71 and 72, gives a translation in modem Italian; 
 it is here, as traced from the original, to give a perfect idea of 
 the capital letters used in the manuscript. 
 
 3. Another specimen of the capital letters in this Bible ; in 
 a verse of the prologue we leam the name of the Calligrapher 
 Ingobertus. 
 
 4. These two lines are traced from another Latin manuscript 
 brought from the library of Queen Christina of Sweden to the 
 Vatican. It contains an explanation of the Apocalypse (No. 
 96). These lines contain the name of the author, Ambrosius 
 
 Autpertus, a Frenchman of rank, who, according to Muratori, 
 went to Lombardy after the conquests of Charlemagne. Here 
 he became abbot of the Benedictine Monastery of S. Vincenzo, 
 and died in 778. (Muratori, Rerum Italic, script., vol. i., 
 part n., p. 323.) Paulus Diaconus mentions him in his “ Ges- 
 chichte der Longobarden,’ ’ as also another work executed by him. 
 From another inscription on the second leaf, which runs thus, 
 
 Hic est liber B. Dionis,” we find that tliis manuscript belonged 
 to the Abbey of St. Denis in France. It consists of one hundred 
 and sixty-four sheets of parchment measuring more than a foot in 
 length, divided into two columns with ornamental borders ; each 
 side contains thirty-six lines, with a capital letter at the com¬ 
 mencement of each, chiefly written in black ink, but some in red. 
 Charlemagne made it a point with his clergy that they should 
 be accomplished scribes, that nothing might be wanting in 
 writing sacred books ; we may therefore conclude with more 
 certainty that this work was by the hand of Autpert himself, 
 particularly as we have his own assertion that he had no other 
 transcriber. (Hist. lett. de la France, vol. iv.) The similarity 
 of this beautiful writing with that of the eighth century, and with 
 that of the manuscript of the Bible of St. Paul, would make it 
 appear that they were of the same period, and also make it pro¬ 
 bable that this manuscript was presented to Charlemagne when 
 ruler of several kingdoms, but before he became emperor, as the 
 following lines seem literally to imply “Hunc C'arolum regem, 
 terræ dilexit herilem.” 
 
 5. These two alphabets are from another manuscript in the 
 Vatican (No. 313). This manuscript belonged to a Frenchman, 
 as shown by the following, written in the fourteenth or fifteenth 
 centuiy : “ Ce livre est à J. H. Gauchet, qui le trouvant si le 
 port à son Otel à la rue de . . . the remainder is illegible. 
 In this manuscript, entitled “ Liber sacramentorum S. Gregorii,” 
 after the litanies of the Church of Paris, in which a French saint 
 is mentioned, there is a list of the canons of this church, at the 
 head of which stands the name of Ercanradus, a bishop then 
 living. On the following page, in a list under the title of 
 “ Nomina defunctorum,” which is a kind of necrologue in use in 
 ancient churches, there are the names of four other bishops, two 
 of whom, Embestus and Gambaldus, are not mentioned among 
 the bishops of Paris in the Gallia Christiana. The name of 
 Ercanradus is also mentioned again as bishop of Paris ; the first 
 lived in 775, the last about 856. It therefore appears natural to 
 conclude that this manuscript (Liber sacramentorum) is of the 
 eighth or ninth century, and in consequence the character of the 
 writing is considered as a criterion for that in the Bible of St. Paul. 
 
 6. Alphabet of the capital letters in the Bible of St. Paul. 
 
 7. Another alphabet of capital letters, from a manuscript 
 Bible in the library of the Fathers of the Oratorium in Rome, 
 called “Della Vallicella.” It is not decorated with paintings 
 like that of St. Paul, but is very correctly written in three 
 columns on leaves nearly square. It is considered to have been 
 written by Alcuin, transcribed by order and for the use of 
 Charlemagne, as the following verse on the three hundred and 
 forty-second page seems to indicate :— 
 
 Codicis illius quot sint in corpore sancto : 
 
 Depictæ formis litterulœ variis, 
 
 Mercedes habeat Christo donante per œvum 
 Tot Carolus rex, qui scribere jussit cum. 
 
 * Pro me quisque legas versus orare memento 
 Alcuin de Corego, tu sine fine vale : 
 
 Hæc ego porto libens ad sancta sacraria templi 
 Quos tua mens noviter condidit alma Deo. 
 
 Painting K 
 
PLATE XL.— (Conti n led.) 
 
 The author, Alcuin, like St. Jerome, not only piously studied 
 the Scriptures, but transcribed them with his own hands. 
 
 8. Specimen of the small letters in the Bible of St. Paul, 
 taken from the forty-second chapter of the book of Job. 
 
 9. Specimen of the small letters of the Bible from the 
 library of Vallicella. 
 
 When the alphabets of capital letters Nos. 6 and 7, and the 
 small letters of Nos. 8 and 9 are compared, the resemblance is 
 so great that one would imagine they had been written by the 
 same hand, did not the verse under No. 3 contain the name of 
 Ingobertus, as scribe of the Bible of St. Paid. We conclude, 
 however, that they were both of the same school of calligraphy 
 —a school for whicli we have to thank the zeal of Charlemagne, 
 and his friend and instructor Alcuin. 
 
 10. The last division of this plate contains a specimen of 
 Roman numbers used in the Bible of St. Paid ; they are divided 
 into two lines, the upper containing the numbers in cursive, the 
 
 lower the numbers in large size. In the centre is a monogram 
 of Christ from the same manuscript. Those who wish for full 
 information as to the age, the author, and the prince for whom 
 tlds celebrated manuscript was executed, must refer to the fol¬ 
 lowing authors :—Baluze, “ De capitulariis." Mabillon, “ De 
 re diplomatica ; Iter Italicum, Iter Germanicum.” Montfaucon, 
 “ Monumens de la Monarchie Française,” vol. i., p. 304. 
 Alemanni, “ De Lateranensibus parietinis.” Margarini, “ In- 
 scriptiones antiquæ." BasU, “ S. Pauli ad viam Ostiensem.” 
 Eckardus, “ Franc oriental,” vol. ii. Rivet, “ Hist. litt. de la 
 France,” vol. ii. Bianchini, “ Vindiciæ can script.” “ Disser- 
 tatio in aureum ac pervetustum sanctorum Evangeliorum 
 codicem MS. Monasterii S ü - Emmerani;" Ratisbonæ, 1786. The 
 learned author of this last work compares all these authorities, 
 and comes to the undoubted conclusion that this manuscript 
 belongs to the end of the eighth or beginning of the ninth 
 century. 
 
 PLATE XLI. 
 
 SOME OF THE MINIATURE PAINTINGS FROM THE MANUSCRIPT OF ST. PAUL, GIVEN ONE-FOURTH OF THEIR 
 ORIGINAL SIZE. EIGHTH OR NINTH CENTURY. 
 
 1. Title-page of the manuscript Bible of St. Paul complete, 
 the greater part of which is given in the preceding plate of the 
 original size ; the three subjects under the title-page have re¬ 
 ference to the life and labours of St. Jerome, the author of this 
 Latin translation of the Bible. 
 
 2. The creation of Adam and Eve ; they eat of the forbidden 
 fruit and are driven from Paradise. In No. 1 of pi. xliii. these 
 three figures are given of a larger size; God is represented 
 giving Eve to Adam. (Gen., chap, i., ii., iii.) 
 
 3. Birth and exposure of Moses ; he changes the rod of 
 Pharaoh’s magician into a snake ; goes dry-footed through the 
 Red Sea, and leaves Pharaoh and his army to be drowned 
 therein. (Ex., chap, i., v. 8.) 
 
 4 Moses receives the tables on Mount Sinai ; has the taber¬ 
 nacle built, where he places the ark, and the candlestick with 
 seven branches, and offers burnt sacrifices. (Ibid, chap, xxxiv. ; 
 Lev., chap, i.) 
 
 5. Balaam, riding an ass, is stopped by an angel ; Korah, 
 Dathan, and Abiram, with their followers, are punished for 
 their ungodliness. (Numbers, ch. xvi.-xxi.) The scene with 
 
 Balaam is given in No. 2, pi. xliii., from a tracing. It is 
 worthy of remark that the drapery over the ark is surmounted 
 by a cross. 
 
 6. After Moses has assembled the Israelites, given them his 
 blessing, and recommended them to keep the laws, he goes to 
 Mount Abarim, where he sees the promised land, and then dies. 
 (Deut., chap, xxxii. and xxxiv.) 
 
 7. Joshua, successor to Moses, leads the Israelites dry-footed 
 over Jordan, whilst the ark is earned before them; he conquers 
 Jericho, and dirides the land among the twelve tribes. The 
 upper part of this miniature painting is given in the original 
 size in pi. xliv., No. 2. 
 
 8. The birth of Samuel, and his introduction to the temple ; 
 Eli falls back on hearing of the death of his sons; Samuel 
 anoints Saul; David fights with Goliath, and slays him; Saul, 
 conquered by the Philistines, kills himself. (1 Kings, chap, i., 
 x., xrii., xxxi.) 
 
 9. David tears his garments on hearing of the death of Saul, 
 and has the man slain who accuses himself of Saul’s death. 
 (2 Kings, chap, i.) 
 
PLATE XLII. 
 
 MINIATURE PAINTINGS OF THE BIBLE OF ST. PAUL, ONE-FOURTH OF THE ORIGINAL SIZE. 
 EIGHTH OR NINTH CENTURY. 
 
 1. God on his throne surrounded by seraphim and pro¬ 
 phets ; underneath, David dictates his Psalms, inspired by the 
 Holy Spirit. 
 
 2. Solomon anointed by Zadok and Nathan ; he is sitting on 
 his throne, and giving judgment between the two harlots. 
 (1 Kings, chap, i.-iii.) 
 
 3. Judith leaves Bethulia accompanied by her maid ; she is 
 conducted to Holofemes; she cuts off his head and returns to 
 Bethulia. In the following plate, No. 3, a part of this composi. 
 tion is given of the original size. 
 
 4. Antiochus, after the contrast of Egypt, possesses himself 
 of Jerusalem also, plunders the temple, and tries to force the 
 Jews to sacriice to idols ; Mattathias and his sons assemble 
 their followers, seise Antiochus, and give freedom to their native 
 land. (Maccab., 1st book, chap, i., ii.) 
 
 5. God sitting on his throne, surrounded by prophets and 
 evangelists writing their inspired works. 
 
 6. The four evangelists, each with their attributes. 
 
 7. Christ ascending to heaven; underneath, the Virgin and 
 I Apostles receive the Holy Ghost. The upper part of this 
 ; composition is given of the original size, No. 7 of the following 
 
 plate. 
 
 8. The conversion of St. Paul; he goes to Damascus, where 
 his sight is restored by Annanias; his disciples lower him in a 
 basket from the walls, that he may escape from the Jews. 
 (Acts, chap, ix.) 
 
 9. The angels of the seven churches, the book with the 
 seven seals, and other allegories from the Revelations of St. 
 John. This and the preceding plate contain the twenty-eight 
 miniature paintings of the Bible of St. Paul, in small size; 
 underneath the paintings and on the back of the leaves there 
 are verses, written in the barbarous style of that period. We 
 only give those which have reference to the subject, to give a 
 complete idea of the miniatures, with the exception of colouring ; 
 and as they are reduced one-fourth, we give some of the subjects 
 of the original size, careiully traced in the two following plates. 
 
TRACINGS OF THE MINIATURE PAINTINGS FROM THE BIBLE OF ST. PAUL. NINTH CENTURY. 
 
 1. After the creation of Eve, God gives her to Adam ; 
 
 “ Sicque suâ lætus gaudet de virgine virgo.” 
 
 2. Balaam arrested on his journey hy an angel, with a 
 drawn sword ; “ Qualiter et Baalam, missus cœlestis ab aula, 
 obviât ense minans.” 
 
 3. Judith conducted to Holofemes ; “ Ubi nuncius adduxit 
 Judith ante Olofernem; ubi sedit Judith in Palatio.” 
 
 4. Jesus Christ ascending to Heaven with two angels, in 
 the presence of the Virgin and Apostles. It is interesting 
 to compare this composition with the same subject in the 
 Syrian manuscript given in No. 1, pi. xxvii. 
 
 The decline of painting in the Latin as well as in the 
 Oriental church, shows itself in various ways. 
 
 Some of the other subjects from the Bible of St. Paul are 
 worthy of admiration, as far as the composition is concerned. 
 
 The address of Moses to the assembled people (No. 6, 
 pi. xli.) is nobly treated ; the expression is generally correct. 
 
 David inspired, dictating to his scribes and musicians (No. 1 
 pi. xlii.) gives an idea of considerable merit. 
 
 The procession of the army of Antiochus to Jerusalem and 
 the temple ; these are truthfully described from the 1st book of 
 Maccabees:—“Ascendit Hierosolymam in multitudine gravi, 
 et intravit in sanctificationem cum superbia.” 
 
 In the judgment of Solomon (Ibid, No. 2) there is a degree 
 of pomp in the decoration and number of attendants which few 
 modem artists have been able to give this subject. 
 
 And lastly, the highest elevation was reached by the artist 
 of which he was capable in the representation of the pouring 
 out of the Holy Ghost. (Ibid, No. 7.) The Apostles are sitting 
 in a splendid enclosure, naturally grouped in various attitudes ; 
 in the centre, the Virgin is sitting on a throne with her feet on 
 a suppedaneum, formerly an emblem of dignity ; outside the 
 circle, the people are waiting with lively impatience, but with 
 reverence, for the outpouring of the Holy Ghost. 
 
^MNVNciqs* D i^*w'«im\HT!o(ortR Kt^x: yat siDiT mocrr ^ 3 
 
 .-'■ ASCfNCITX? S 
 IMAiTuM 
 
 tfbi/ica/u/e- 
 
 '/'/<?if MÛ IX Sec#/* 
 
PLATE XL Y. 
 
 CAPITAL LETTERS AND OTHER DECORATIONS TRACED FROM T HF. BIBLE OF ST. PAUL. 
 
 Specimen of capital letters from this Bible; the three letters I. E. R. formed into a kind of cypher, are from the 
 words Verba Hieremiæ on p. 128 of the manuscript; they are very carefully traced. 
 
 Seventy specimens of ornaments used in various parts of the manuscript. In “ Strutt's Chronicles,” London, 
 1777, pi. xx. parti., p. 346, we find capital letters bearing a very striking resemblance to those here shown. 
 The English, or rather Saxon manuscript, from which these letters are taken, belongs to the Cottonian library, 
 and contains the Latin translation of the Scriptures by St. Jerome, and is a work of the celebrated school of 
 calligraphy formed by King Ina of Wessex, in the eighth century; and from whence it is probable that 
 Alcuin went in the following century to establish this art in the kingdom of Charlemagne. 
 
Tae.JZV. 
 
 JVit. 
 
 
 
PLATE XLVI. 
 
 MINIATURES FROM THE PROPHECIES OF ISAIAH, A GREEK MANUSCRIPT IN THE LIBRARY OF THE VATICAN. 
 NINTH OR TENTH CENTURY. 
 
 1. The miniature paintings on this plate are taken from a 
 Greek manuscript in the library of the Vatican, No. 755. In 
 No. 1 God is represented by a hand emerging from the clouds, 
 and giving inspiration to the prophet both by night and day, 
 personified by two figures, Night, ÈtNŸS, and Dawn, ÔP0PO2. 
 
 2. A standing figure of the Prophet Isaiah, with heads of 
 the four fathers of the church who wrote commentaries on his 
 works. 
 
 3. Heads of the four commentators on the writings of 
 Isaiah, of a larger size. 
 
 4. A miniature painting from the same manuscript, of 
 diminished size, representing the martyrdom of Isaiah. 
 
 5. Specimen of capital letters from the same manuscript. 
 
 6. A cursive alphabet, from a manuscript of the tenth 
 century, already given in No. 3 of pi. xxxiv. 
 
 7. Cursive alphabet of the manuscript of Isaiah. 
 
 8. Cursive alphabet of a Greek menologue of the ninth or 
 tenth century, the miniatures of which are given in plates xxxi., 
 xxxii., and xxxiii. 
 
 The manuscript from which the subjects on this plate are 
 taken is of uncommon beauty ; it measures thirteen inches in 
 length and ten in breadth. It contains the writings of Isaiah 
 with commentaries, and consists of two hundred and twenty-six 
 pages. 
 
PLATE XLYII. 
 
 MINIATURES FROM VARIOUS LATIN AND GREEK MANUSCRIPTS OF THE ELEVENTH CENTURY. 
 
 1. A miniature painting representing King Herod and his 
 armour-bearer, from a Latin manuscript of the tenth century in 
 the library of St. Peter at Saltzbourg; it is on parchment of a 
 large size, and at each festival there is a miniature painting. 
 This manuscript is fully described in the following work:— 
 “ Chronicon Gotwicense seu annales liberi et exempti monasterii 
 Gotwicensis, ordinis S“- Benedicti, inférions Austriæ, Godifredus 
 Abbas Gotwicensis, typis monasterii Tegernseensis, ord. S“" 
 Bened.,” 1732, No. 463, vol. i. 
 
 2. St. John the evangelist, represented with the head of an 
 eagle, his usual symbol ; at the side of the figure the two first 
 letters of his name are given and the remainder above. 
 
 3. The Emperor Otho I. giving a ring and instructions 
 to his son Otho II., at the time that he assumed the title 
 of King of Germany, at the Diet of Worms and Aix-la- 
 Chapelle in 961. This miniature painting is also given in 
 the “ Chronicon Gotwicense,” lib. i., p. 48, from a manuscript 
 in the library of the Duke of Saxe Gotha, “In quo leges 
 antiquæ et capitularia a Balutio postmodum édita continentur.” 
 
 4. The Byzantine Emperor Basil II. receiving a blessing 
 from heaven and homage from the earth. This painting is 
 from a psalter of the tenth century, wliich was taken from 
 tlie library of St. Mark in Venice to the library in Paris. The 
 reduced drawing is by Morelli, the learned librarian of the 
 former. The following number contains the principal figures in 
 a larger size. 
 
 5. Part of the preceding miniature painting of the original 
 size ; it represents the Emperor Basil II. with several kneeling 
 figures at his feet. The signification of the Greek inscription at 
 the side is, “ Basilius in Christo fidelis, rex Romanorum junior.” 
 
 6. The Apostles assembled for the receiving of the Holy 
 
 Ghost. This miniature is from a Greek book of the evangelists 
 of the tenth century, belonging to the abbey of Florence. It is 
 published in a work of Gori’s on Dyptichons (vol. iii., part i., 
 pi. xii.) 
 
 7. St. Luke writing his book. This figure is from a manu¬ 
 script of the tenth century, shown by the date underneath ; it 
 contains the four books of the evangelists, with the following 
 written by the calligrapher :—“ Memor estote miserabilis 
 Theophili presbyteri monaci, omni parte parvi, tibi inutilis et 
 omnibus,” etc. Under St. John we find the following Hoc 
 evangelium .... ad finem perductum in mense majo, in 
 triginta dies, feriâ quartâ, anno 6493.” 
 
 There are three hundred and sixteen leaves of fine white 
 parchment in this manuscript ; the four first leaves are divided 
 into columns, the usual form of canonical writings. 
 
 The figures of the four evangelists are painted on a burnished 
 gold ground, with a simple blue border ; red and light blue 
 predominate in the dresses, painted so thickly that they look 
 very heavy. 
 
 This beautiful manuscript belonged to the Abbot Joseph 
 Lelli, in Rome, a man of uncommon ability in deciphering all 
 kinds of antiquities. 
 
 8. St. Mathew; miniature painting from a manuscript of 
 the tenth century, quoted by Montfaucon in his “ Paléographie 
 grecque,” p. 280. It is now in the royal library in Paris, 
 No. 3424. It consists of three hundred and ninety pages, con¬ 
 taining the four books of the evangelists ; at the commencement 
 of each the figure of the evangelist is painted on a gold ground 
 with a border of blue and gold. Above the head of the saint 
 is a specimen of the capital letters ; and at the side, one of the 
 cursive writing, carefully traced from the originals. 
 
T>i'. JL ITT. 
 
 Tût. 
 
PLATE 
 
 MINIATURE PAINTINGS OF SURGICAL OPERATIONS 
 S. LORENZO. 
 
 1. The heads of two women and a man, traced from the 
 originals. 
 
 2. Specimen of cursive writing in this manuscript. 
 
 3. Figures of men and women undergoing various surgical 
 operations, traced from the originals ; the two centre figures aie 
 given again in No. 5 in a smaller size. 
 
 4. Various bandages for broken or dislocated legs, hands, 
 and thighs, traced from the originals. 
 
 5. Figures of men and women, prepared for various opera- 
 
 XL VIII. 
 
 FROM A GREEK MANUSCRIPT OF THE LIBRARY OF 
 ELEVENTH CENTURY. 
 
 tions. The manuscript from which these miniatures are taken 
 is in the Library of S. Lorenzo in Florence ; it is given in the 
 catalogue of manuscripts, plate liv., under the following title 
 Hippocratis chirurgica, seu potius veterum chirurgorum insignis 
 collectio ; codex Græcus, membranaceus MS. in fol. insignis 
 sæculi xi., litteris colligatis, rotundis, concinnis, cum picturis 
 coloratis et alicubi auro illitis, non prorsus inelegantibus, constat 
 foliis ccccv.” 
 
 Painting M 
 
PLATE XLIX. 
 
 DISCOURSES OF ST. EPIIRAIM ; HOMILIES OF ST. GREGORY OF NAZIANZE ; MILITARY MACHINES FROM 
 GREEK MANUSCRIPTS OF THE ELEVENTH CENTURY. 
 
 1. St. Ephraim the Syrian employed in writing his dis¬ 
 courses. This painting is in a manuscript of the library of the j 
 Vatican, No. 45T. It is dated 1040, and contains only this one 
 painting, traced from the original ; there are ornaments on the 
 borders and titles, the writing is very beautiful There is a I 
 specimen of the capital letters over the head of the saint with 
 cursive writing, given more frilly under Nos. 4 and 8. 
 
 2. St. Gregory of Nazianze writing his homilies. This pic¬ 
 ture is also the only one of another manuscript in the library of 
 the Vatican, No. 463, containing the homilies of this father of the 
 Greek church ; the features arc partially obliterated. In the ori- i 
 ginal the robe is painted brown, the stole white, with a black cross 
 on it ; underneath there is a yellow tunic, with numerous folds. I 
 There are some interpretations, with the homilies of St. Gregory 
 by another hand, and a note which informs us that this book was 
 arranged by one Theodoric, a monk, and written by his scholar 
 Simeon, in the month of December, 1063, during the reign of 
 the pious Emperor Constantine, and completed under that of the 
 Empress Eudoxia, another instance of the love of science of this 
 prince, and admiration for beautiful books of this empress, the 
 last of the three of this name who honoured the throne of Con¬ 
 stantinople. Montfaucon describes another work by St. Gregory 
 of Nazianze in his “ Paléographie grecque,” book iii., chap, viii., 
 of the eighth century, which is veiy richly decorated. It would 
 appear that letters formed of curious figures were much in use at 
 this time ; as the same author quotes another manuscript of St. 
 Gregory, in which there are numbers of those letters, he ascribes 
 it to the calligraphers being painters at the same time, and, 
 therefore, that they amused themselves with forming letters from 
 any ideas that came into their heads. 
 
 3. Specimen of initial letters from the preceding manuscript, 
 formed of human figures, by which means the painter, or rather 
 the calligrapher, attained the double object of connecting the 
 subjects with the capital letters. No. 2 of the following plate 
 gives examples of capital letters of the same kind, only that they 
 are formed of animals, and totally unconnected with the text. 
 Montfaucon, inliis “ Paléographie grecque,” book iii., chap, viii., 
 gives a complete alphabet, formed from different Greek manu¬ 
 scripts of the eighth century. In the following centimes they 
 seemed to consider these fantastical decorations as some compen¬ 
 
 sation for the decline of good taste. It is this kind of letter 
 mentioned in the “ Dictionnaire raisonnée de diplomatique,” 
 vol. ii., p. 68, under the head of “ Lettres," which are called 
 anthropomorphique when formed of human figures, and 
 zoographique when formed of animals. In the upper part of 
 No. 3 are two monograms, A and B. 
 
 4. Specimen of cursive writing in the manuscript of St. 
 Ephraim, the first line of a Greek inscription, which is translated 
 thus :— 
 
 Finis primi libri Ephrem Syri 
 Scriptus manu Barnabæ presbyteri, 
 
 Completus est mense Novembri 
 Liber iste monasterii Salvatoris, 
 
 Auxiliantibus sanctorum patrum precibus, 
 
 Sub imperatore Micbaele a Christo dilecto. 
 
 Et Zoë Porphyrogenneta Augusta 
 Cum esset tunc indictio octava 
 Et rursus annus sex miUosimus 
 Quingeutesimus quadrngesimus octavus. 
 
 The whole alphabet of the writing used in this manuscript is 
 given in No. 8 of this plate. 
 
 5. Specimen of cursive writing used in the manuscript of 
 St. Gregory of Nazianze. This line forms the conclusion of a 
 note at the end of the volume, with the name of the calligrapher, 
 Simeon, and the date, 1063. 
 
 6. The different miniature paintings under this number are 
 from a third manuscript in the Vatican, No. 1605. The cursive 
 alphabet is given in No. 7, and when compared with that of 
 St. Ephraim, would be placed in the same century, the eleventh. 
 The principal subjects of this manuscript are military evolutions 
 and warlike engines, there are fortifications, ships of war, 
 geometrical figures, a zodiac, &c., &c. The names of the engines 
 are written in capital letters, some of which are formed of two 
 simple lines without either gold or colour. In the same library 
 there is another manuscript, No. 1164, on military tactics, “ De 
 instruendis aciebus et machinis bellici9 conficiendis et aliis;” 
 it seems to be of a later period, and is much more interesting 
 than the preceding. 
 
 7. Cursive alphabet from a manuscript of the Vatican, No. 
 1605, the paintings of which are given in No. 6. 
 
 8. Cursive alphabet in the manuscript of St. Ephraim, No. 
 457, given in No. 1 of this plate. 
 
vF.fr.fü. 
 
 ' s 7 V 
 
 o d h g 
 
 Â.O.f.C. 
 
 à v-ûü Vf <J> âîü 
 
 tÔÂiï0®É0C'ôeG0Â0 
 
 r«ct 
 
 
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 S Xf'P‘ ( ?M’^^cr^i^-jT ? ecûr-Tî^r.'7FAew-^ti Kejxgjii^u^oay 
 
 csr^ v; — c 
 
 
 J^. 
 
 
 TT 
 
 7 ttuy<!'é-3MU4iKA 1 tf;^o-ire°-Tvf>X'f«> # au K W3w| v fr,|^X JV »-rr-çc-t- l 
 
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 aiJNOMC^-^efulJjiNHt -wis'of-TAenîc V^rf 
 
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 UC ^T-dlrjA.*^^^ dlriiMN • - 
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 © >S?V® C tk °THK dàro^oc 1 ïif ^rljap vp i > 
 
 f i C 4 t j* V C ' 6 &0\£ rtfc/^f<£-'3f*>-pjjH0€| , uJ>t Vf^ 3 : 
 
 fit f ^ OplON'nfoVMîtîjvjy (Kf’^«c:- 
 «C •'TBW yiU p«“r/ eWu : — 
 
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 OLU-r%e £> © \ KT >. -ll OtxtÇ ctv/^> X^ c 
 
 , „ _ ff-Canuteniint'. 
 
 Mwtyrfa/)? -rit/ûffe- ,m- -m/mw‘ /rfm<* 4 t'û#ne, raoa&t tdrt • C/ ! /n<//uy4<-/‘ 6//?<*/•* >/■//,r Mi \ eriftntfi?manteS&kifa 
 
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PLATE L. 
 
 MINIATURE PAINTINGS OF A REDUCED SIZE FROM A GREEK MANUSCRIPT OF THE TWELFTH CENTURY, 
 CONTAINING SERMONS FOR THE FETE DAYS OF THE VIRGIN. 
 
 1. Title of the manuscript traced from the original, to give a' 
 specimen of the writing; the following is the Latin translation;— 
 “ Opus Jacobi monachi ex monasterio Coccinobaphi in sex ser- 
 monibus absolutum, compositis in festivitate sanctissimæ Dei 
 genitricis, nempe, i ns - sermo in conceptionem ; ii ns * in nativitatem ; 
 iii ,ls - in sancta sanctorum; iv u ‘- in exitum templi et in reliqua; 
 v U5 ‘ in salutationem ; vi“- in redditionem purpuræ et in reliqua ; 
 selectis ex divinis scripturis.” It is known that the author of 
 this work lived in the twelfth century, which fixes the date of 
 tliis manuscript with certainty. The writing appears to belong 
 to the same period, which makes it probable that he wrote it 
 himself. This manuscript belongs to the library of the Vatican, 
 No. 1162; it is of great beauty, and written with extreme regu¬ 
 larity and care; it contains 194 pages. It is decorated with 
 initial letters, formed of birds and beasts, of which we have 
 already spoken in the preceding plate, and as we there remarked, 
 they have no kind of connection with the subject ; they are 
 
 drawn with great delicacy with innumerable colours. The 
 title over the paintings is written in gold, of mixed letters ; the 
 cursive writing is the same as that of the alphabet, No. 4. Such 
 large and beautiful ornaments as the one given in No. 2 of the 
 following plate, increase the splendour of this manuscript, already 
 so rich in miniature paintings, all of which are painted on a gold 
 ground and burnished : or employed in a liquid state, by hatch¬ 
 ings, particularly on the draperies. 
 
 2. Specimen of capital letters formed of animals. 
 
 3. A selection of twelve of the miniature paintings from 
 this manuscript, containing historical and allegorical subjects, 
 among which are Adam and Eve in Paradise, the sacrifices of 
 Cain, Abel, and Abraham, various salutations, and the return of 
 the angel Gabriel to heaven. These miniatures are given in 
 less than half of the original size. 
 
 4. Cursive alphabet of this manuscript. 
 
FIGURES AND ORNAMENTS FROM THE SAME MANUSCRIPT, FULL SIZE. 
 
 TWELFTH CENTURY. 
 
 One of the miniatures of this manuscript, traced from the original, to give a complete idea of the character of 
 the drawing. 
 
 Example of very rich ornaments in the form of vignettes, which abound in the manuscript and contribute to its 
 magnificence. 
 
 Various figures from different miniatures in this manuscript, given of the original size. 
 
MINIATURES FROM THE WORKS OF ST. JOHN CLIMACUS, A GREEK MANUSCRIPT OF THE 
 ELEVENTH OR TWELFTH CENTURY. 
 
 The manuscript from which the miniatures on this plate are 
 given belongs to the library of the Vatican, No. 394. On the 
 
 first page we find the following note by a modem hand:_ 
 
 “ Codex 394 continet,— 
 
 “ l0 - Johannis Climaci tractatum, climax scilicet scala 
 nuncupatum, in quo quasi gradus triginta cap. allignantur, 
 quibus ascensio ordinata ad virtutes et Deum paratur; cum 
 vita ipsius, et epistola Abbatis Rhatensis et aliis de pag. pre. 
 vers, primo. 
 
 “2°. S ü - Maximi de charitate et dilectione explanationes 
 compendiosæ, in quatuor centmias divisas, videtur autem deesse 
 centuria quinta, p. 170, a tergo col. primte, versu primo. 
 
 “ 3°. Photius quidam, possessor istius codicis aliquando fuisse 
 adnotatur Russiæ metropolita, p. 213, a tergo col. 2, vers. 15. 
 
 “4°. Tabulum cujusdam versus, qui constat litteris 27, 
 legiturque per latitudinem et profunditatem etiam retrograde, 
 et litteræ ita simt dispositæ ut in angulis respondeant singulæ 
 seriatim, p. 214, vers, primo. 
 
 “ 5°. Nicetæ diaconi et magistri rhetorum, tractatum MS. 
 
 I P erfectum > de animas triplicitate et quibusdam ipsius potentiis, 
 p. 215, vers primo." 
 
 The manuscript contains two hundred and sixteen pages of 
 very fine and white parchment; there are three kinds of writing 
 given in the lower part of this plate, and a fourth much smaller 
 on the paintings by the side of the figures. We cannot here 
 enter upon a lengthened disquisition about the contents of this 
 manuscript ; but with regard to the subjects of the miniatures 
 of this treatise, called the Ladder, they prove that the virtues 
 are so many steps which lead to heaven. And the artist has 
 thought it necessary to exhibit this idea fully by representing 
 the virtues which assist the ascent to heaven, and the vices 
 which precipitate the descent. The legends on the borders of 
 the manuscript serve also to further explain the intention. 
 
 It is interesting here to make a comparison with the fresco 
 painting of the tomb of Tarquinia, given in pi. x. of Architec¬ 
 ture, where evil spirits are painted black and good ones white, 
 as in this manuscript. The cover of this manuscript bears the 
 arms of Pope Paul V., of the Borghese family. 
 
 Painting N 
 
PLATE LUI. 
 
 MINIATURES FROM AN "EXULTET" IN AGINCOURTS COLLECTION. REDUCED FROM THE ORIGINALS. 
 A MANUSCRIPT OF THE ELEVENTH CENTURY. 
 
 A, B, C, D. These four columns or lines united lengthwise, 
 form a parchment roll h orn Agincourt’s collection. They contain 
 an Exultet, a hymn sung at Easter at the consecration of the 
 Pascal candle ; each verse is accompanied by a miniature ; 
 their style can be judged of by the one under No. 8, which is 
 given in No. 1 of the following plate, from a tracing of the 
 original. 
 
 1. Jesus Christ leaving hell triumphantly, and crowned by 
 two angels, surrounded by cherubim and other angels, one of 
 whom is blowing a trumpet : “ Pro tanti Regis Victoria, tuba 
 insonet salutaris.” 
 
 2. Christ sitting on his throne in triumph, at his feet allego¬ 
 rical representations of earth (tellus) and darkness (caligo.) 
 
 3. A deacon of the church commences the prayer for a bles¬ 
 sing on the Pascal candles, in the presence of a great number of 
 assistants : Qua propter astantibus vobis, fratres carissimi, ad 
 tarn miram sancti hujus luminis claritatem,” etc. 
 
 4. Continuation of the same ceremony by another servant of 
 the church. 
 
 5. The two subjects given under this number represent 
 Christ as conqueror of hell, and a figure sitting on a church 
 surrounded by lighted tapers ; they appear to bear allusion to 
 the following words:—“Christus ab inferis Victor ascendit.” 
 “ Illuminabitur et nox illuminatio mea.” 
 
 6. These three figures in the act of blessing appear to have 
 reference to the ceremonies of the same day. 
 
 7. One of the attendant ministers lights the taper, whilst 
 another spreads out his hands, and begins the sacrificial prayer : 
 “Suscipe, sancte pater, incensi hujus sacrificium,” etc. 
 
 8. The sacrifice is completed with incense, and by the priest 
 entreating the blessing of Heaven, in the following words, 
 written on the roll in his hand:— “Ut supernæ benediction is 
 munus accomodes,” etc. This subject is given on the following 
 plate in larger size. 
 
 9. This painting represents bees hovering on flowers ; apply¬ 
 ing to the following verse:—“ De operibus apiun,” &c. 
 
 10. The Redeemer leaving hell victoriously. 
 
 11. This last part shows a variety in the character of the 
 writing, and appears to have been taken from some other Exultet 
 and added on to this. The calligrapher, or perhaps the artist, is 
 laying his work at the feet of St Peter. The inscription at the 
 side tells us that he was a priest of the name of Johannes 
 Eposius. The troop of soldiers painted underneath appear to 
 belong to the militia of Benevento, of whom mention is made 
 at the back of the manuscript ; they assist in proving the date 
 of the manuscript of the eleventh century. This Exultet, pub¬ 
 
 lished in this work for the first time, forms a volume or roll of 
 the same kind as the book of Joshua given in plates xxviii., 
 xxix., and xxx., with this exception, that the whole of this one 
 must be unrolled to see the verses belonging to the paintings. 
 The eighteen sheets of parchment of which it is formed are of 
 different lengths, varying from six inches to two feet, but all 
 ten inches in breadth, including the ornamental border. The 
 full length of the roll is nineteen feet eight inches. The paint¬ 
 ings and writings are divided by ornaments from six to fourteen 
 lines in width, executed in three cords of blue, red, and green, on 
 a reddish ground. AU these paintings in water colours are gone 
 over with a sort of varnish, or a glue, which was mixed with the 
 colours, and which has greatly assisted their preservation. The 
 ground is painted light blue, yeUow, green, or red ; white and 
 azure are only used for saints or priests of a very high order, 
 
 | green and red for those of the second order and for the people 
 j who attended the ceremonies. Christ is dressed in a timic and 
 pallium. The glory round the head of Clnist, as also that of the 
 angels, is in gold ; as are also the candelabra, the pascal candles, the 
 stole, and ornaments on the heads of the attendants. The dress 
 of the priests and the robes of the angels are white, with a 
 Uttle blue. Some of the figures, such as those in No. 6, 
 have white, green, or black mantles over blue tunics. The robes 
 of the royal personages are bordered with gold, and only 
 reach to the knees, and they have a short mantle thrown 
 over their shoulders. The great people who surround them 
 have similar dresses, but without mantles ; their hair is cut 
 short and round, and they have boots of various colours. The 
 soldiers are armed with lances, they have pointed helmets, 
 round shields painted red or yellow, with black coats of mail, 
 reaching from the throat to the middle of the thighs. These 
 details are not very interesting for art, but as Muratori remarks, 
 they are very useful with regard to manners and costume: 
 “ Eruditionis historicæ non exigua pars est nosce mores et ritus 
 populorum." The materials used in the Exultet manuscripts, of 
 which parts are given in the following plates, Nos. liv., lv., and 
 lvi., are nearly the same as those used in this one ; and with 
 regal'd to the writing, we give alphabets traced from the 
 originals, to give an accurate idea of the form of the letters, 
 abbreviations, notes, &c. When the details of these manuscripts 
 are carefully considered, their date is easily fixed between the 
 eleventh and twelfth centuries. The one here given is proved 
 to belong to the eleventh, by the names of Pandulphus and 
 Landulphus, written at the back of the picture of the crowning 
 of Christ, A, No. 1, as both these princes resigned in 1059 at 
 Benevento. 
 
Hec nu* est In qua dtsiructis i/incu 
 /is mortis , xpisius ak mjtris victor 
 ascendit.Milui enim nobis nascl 
 profuit, nisi pmfuisscl . Omi 
 ra circa nos tue pietatij dMjnctio! 0 
 inest imabilis ditto tin caritatis .Ut 
 servum redimeres^iliunt trad'dlstil 
 O cette necessarian ode oeccotam; 
 quod x/jisti morte. — ..— 
 
 Hluninakitutetnox il/uminatio ore a 
 m deliciis mei is hams ijitur sanctifi 
 catio noctls/fiujat scclera,culpas 
 
 /av at - 
 
 Cl reddit^innoccntiam tapsis, meitis 
 letiham ■ fyat odia,concordian\ 
 paratet carvat imperia . in bums 
 ÿitur 
 
 Noctis yratia,sascipe sancte pater 
 inccnsihuius sacri/icium vesper 
 (ilium quod ttbi in hac cere i 
 oblatione sollemni 
 
 ministrorum tuorum manus, 
 openlas apum sacrosancta 
 
 columbe huius 
 
 insonore 
 
 : pr ecu nia novimus quam 
 | Dei rati Ians jynis accent/it-Qui licet 
 ^ drv issus in partes mufuaii tamer, 
 k iummis detnmenta non no vit. aliter 
 C cairn bqucmiibus ceris quam in 
 < substantiam pretiose bums lampa 
 n dis apis mater edaxit. 0 vere mir 
 il afai lis apis cuius nee sexum mas 
 
 I ' cuti violant . Fêtas non yuassan^nec 
 filii des tuant eastitatem ■ sicut son 
 cfa concepitVirpo Maria .Viryo 
 peperit et Vÿo permanrit. 0 *ere 
 beatanox que expoliavit Ejypti 
 os, dilavit Hebrcos. nos in qua 
 terrenis celcsiia junjuntur, Or a 
 mus te Domine ut cereus istein 
 honorem nominis tui consecra 
 tus ad noctis bui us calcinera 
 dcstrucnJam ( indeficiens perstve 
 ret-In odorern suavilntis acceptas 
 
 un omm conyrejatione sanctissi 
 preseatis vite jiùeit conces 
 iis facias per/ru i sempi/ernis. 
 
 •sojf _?p vowy 
 •ooij luopoouoo jn 'i/i tins i uns 
 vipnv/TMDoiJchp snqnojd dos 
 
 on b}D J jd S3UU00J JDJ 3935 U 0 J 701 } 
 s/oxop pont iyojso</t> ij/od s_jî -jd 
 ! ssns jjjuouSÎp smjnui umnj ed » ly 
 
 7 JSQd3 
 
 ■çysdsr 
 
 U 3 U/D < UilUOn 
 
 c)n»S i/i -Jp $ 
 Irt-nJ} n Vtodnt , 
 
 laudem implere re-ULpla per — 
 Dominant nostrum biesum xpistu 
 fi/rum suum, uiuentem sccum— 
 atque repuantem in imitate sps~ 
 
 Sancli Deus per omnia se cul a_ 
 
 scculorum nmen.Oominus voiis 
 :cum ( et cum spirilu bio ■ sucsa ni. 
 
 corda,abemus ad-Doininum- 
 
 ç/ratias a^amus Domino Deo — 
 nostfo d'jnum etyustum esfc_ 
 
 I ertemji/i ffoj 
 
 |uniyeai 
 
 Dominion nostrum biesum xpis ... 
 turn,sanctum quoqac spirifum^oto 
 cordis ac mentis affectu.et vocis on 
 ni sténo per sonore. Qui pro nobis 
 eternoPatriade debit um Joluit.et 
 veterispiacuh caulionem. pio cruo 
 redetersif hec sunt enira JestCL 
 paschalta inquibus verus ille 
 ûyaus occiditur, ejuSjuC San 
 ptune postes consccrantur.Hec 
 nos est. In qua primum patres 
 nostros fihos israkel e ductcis 
 Domine de Ejypto^ubrum mare 
 sicco vestÿio transire facisti- 
 
 Hec ifiitur not est que pcccaton 
 
 tenbras columne i/Iuminationf 
 purjavit.Hec aox est,queAodiej 
 per universum mua du m inxpii 
 Crpdentes. c n i 
 
 credentes, Avitiis seculi.se 
 jrejakos, et calipine peccatorum, 
 reddityratie sociatque sanctdatc.- 
 
 »(tHnueA 
 
 TVMACEK 
 
 A llfatica tuba «lorum- 
 
 dii-lna mysteria.et prounti 
 ictorin tuba insonet —■— 
 
 Salu taris 
 
 j Gaudeat et se tantes ce/lus irradiotai 
 \fulp0ribus7t etemi Reyissplen 
 j dore (ustrata,rotius orkis se 
 I sentiat amisisse calipinem/etetur 
 et materEcclesia ( tanti (ummis 
 adomata Julyoribus.et mqpnis po 
 pu/orum vocifcus hec ailla resultet. 
 
 Qua propter astantibus vobisjrc 
 très carissimijod tam miramsan 
 cti liuius luminis c/aritatem,una 
 rnecum ouesso,Dei omnipotentis mi 
 sericordiam invocate.ut qui me 
 non mcis mentis intra leWtarum 
 namerum. dÿnatus est prépare,-lu 
 
 eimyiMu/«> SeTi-Munta/wir ,}7'#r m,/*. m /(m/SrS ,d-r7. m,m. ■ ;•/'///. 
 
 drStire t/*/JT/S av/s. 
 
PLATE LIV. 
 
 TRACINGS FROM THE PAINTINGS AND WRITING OF THE EXULTET, GIVEN IN THE PRECEDING PLATE 
 
 Miniature from the Exultet manuscript of the preceding 
 plate, column C, No. 8, from Agincourt’s collection. It repre¬ 
 sents that part of the ceremony of blessing the Easter candle 
 called “oblatio.” Whilst one of the ministers distributes incense, 
 another prays for the blessing of Heaven, in these words:—“Ut 
 supemæ benedictionis munus accommodes.” Under the feet of 
 the priests we remark the little strips of parchment used to 
 unite the different sheets of the roll. Under the painting there 
 is the following line, with musical notes “ Quod tibi in hac 
 cerei oblatione solemne.” And again under this the following:— 
 “Per ministrorum tuorum manus, de operibus apum sacro 
 sancta reddit ecclesia. Sed jam columbe hujus preconia novi- 
 mus, quam in honore Die rutilans ignis accendit.” The whole 
 from a tracing of the original. 
 
 2. “ Et principibus nostris Paudolfo et Landolfo.” These 
 two names are written at the back of column A in pi. liü. I 
 
 From these two princes having reigned at Benevento in 1059, 
 the date of the manuscript is ascertained. 
 
 3. Famuli tui Roffndi comestabuli consulumque nostro- 
 rum et totius militiæ Beneventanæ.” This line gives the name 
 of the municipal officer, and the officers of the Benevento 
 militia, about the year 1077. These interesting particulars 
 at the back of the manuscript in a different hand, although in a 
 similar style, were written by Cardinal Borgia, the former pos¬ 
 sessor of tins manuscript, an irrefragible proof of the time and 
 place of its origin, as the cardinal was governor of Benevento, 
 and well acquainted with the antiquities and history of the 
 town. 
 
 4. Cursive alphabet of this Exultet. 
 
 5. Abbreviations and double letters, with the interpretations 
 in the cursive writing. 
 
PLATE LV. 
 
 MINIATURES AND DETAILS FROM ANOTHER MANUSCRIPT EXULTET OF THE BARBERINI LIBRARY, 
 A LATIN MANUSCRIPT OF THE ELEVENTH CENTURY. 
 
 1. Miniature painting from the manuscript of the Barherini 
 library, of the original size ; it represents a deacon with the 
 Dalmatica in the ambon or pulpit unrolling the Exultet, and 
 pointing out the following verse to his assistants :—“ In hujus 
 igitur noctis gratia, suscipe, sancte pater, incensi hujus sacri- 
 ficium, vespertimum,” etc., whilst other attendants offer incense. 
 
 2. A complete cursive alphabet from this manuscript. 
 
 3. Initial, capital, and other letters, with abbreviations, &c., 
 traced from the same manuscript. 
 
 4. Various mitres and crowns, among which are distinguished 
 the pyramidical mitre of the pope, by the side of that of the 
 bishop : the count’s coronet in the form of a Phrygian cap, and 
 above that the imperial crown. 
 
 These two liues of the first verse of the Exultet hymn run 
 thus:—■“ Regis victoria insonet salutaris.” With regard to the 
 painting, we would remark, that of the architecture is very 
 peculiar find fantastical ; the roofs are blue, the stones of 
 the walls red, divided by lines of black; the shafts of the 
 pillars are red or yellow, and the capitals yellow. The steps 
 upon which they appear to be erected are of various colours. 
 The ground of the ambon is green or white, with alternate red 
 and white ornaments. The taper is painted red, and the foliage 
 by which it is decorated blue, red, green, and yellow. The 
 tunic of the priest who swings the incense, as also those of his 
 acolytes, are white ; the dress underneath green, with a white 
 border. The dresses of the bystanders on the other side of 
 the ambon are various ; the stockings are green and the shoes 
 
 black. In the first painting of this Exultet, which is not 
 printed, the angels wear double tunics, and some a chlamys 
 or purple mantle, instead of a white tunic. Tire trees and 
 flowers, without distinct forms, are rendered by colours dashed 
 on by chance. The writing of this manuscript contains many 
 1 peculiarities. The calligrapher seems to have delighted in 
 an endless variety of capital letters, and to have given full 
 play to both pen and pencil in the form of crowns, mitres, &c., 
 The first word of each verse commences with a highly orna¬ 
 mented capital letters, as also the word “ Gaudeat, ’ No. 3. 
 The borders are red, filled in with gold, and the spaces between 
 of light blue. The remaining letters of the word Gaudeat are 
 written in large Roman letters with black ink on a gold ground. 
 There are other still more curious letters, of which examples are 
 given in the two lines of No. 5 ; and again there are others 
 written over the heads and giving the names of some of the 
 persons, the first letters of which are blue, and the remainder 
 red ; the forms are so various that it is impossible to give a 
 complete alphabet. The great variety of letters in the same 
 manuscript shows the freedoms taken by the writer, and aug¬ 
 ments the difficulties of Paleographical knowledge. There are 
 no dots on the i’s, but a full stop at each pause of the sense 
 where at the present day we should use a comma. There is 
 but little gold used for the figures, with the exception of the 
 ornaments on the dresses, and the glories around the heads of 
 Christ and the angels. With regard to the age of this manu¬ 
 script, the same remarks apply as those used for the Exultet 
 manuscript of pi. liii. 
 
sr—lSr3 
 
 0 7T - r ' /7 ' : ^Æ 
 
 mmü: 
 
 i Jw^' ™ aZt 3üvV - 
 
 f ^ nda &V£i39 U3_m \ ~ ^ 
 
 .,...; ni. ®^™kS5mwS «Sk? 
 
PLATE LVI. 
 
 MINIATURES FROM VARIOUS EXULTET MANUSCRIPTS. TWELFTH OR THIRTEENTH CENTURY. 
 
 1. The Virgin and Child, sitting with an angel on either 
 side ; miniature from an Exultet manuscript of the library of 
 Minerva at Rome. Two lines of writing, with musical notes, 
 and a complete cursive alphabet are seen; the whole from a 
 tracing of the original. 
 
 2. The Annunciation; miniature from an Exultet manuscript 
 in the Cathedral of Pisa, and published in the “Theatrum 
 basilicæ Pisanæ.” 
 
 3. A number of people collected under a portico ; from an 
 Exultet manuscript of the Vatican. 
 
 4. Allegorical representation of the earth ; from the Exultet 
 of the Barberini library, described in pi. lv. 
 
 5. Eve giving the apple to Adam ; this painting appears to 
 refer to the words of the Exultet, “ O felix culpa,” etc. 
 
 6. St. Gregory dictating the chant, which was afterwards 
 called Gregorian ; painting from a manuscript of the tenth 
 century, and placed at the beginning of the work of the Abbot 
 of St. Biagio, “ De cantu et musicâ sacrâ.” 
 
 7. The bee or wax harvest ; miniature fr om the Exultet of 
 the Barberini library, quoted in pi. lv. It refers to that part of 
 the hymn beginning “ O vere mirabilis apis,” &c. 
 
 8. The oblation of the pascal candle; miniature from an 
 Exultet of the library of Minerva ; this subject is the same as 
 those given in pi. liii. and liv. With the exception of No. 6, 
 these miniatures are published for the first time. 
 
 Painting O 
 
PLATE LY1I. 
 
 SUBJECTS FROM THE LIFE OF CHRIST, TAKEN FROM A GREEK MANUSCRIPT OF THE LIBRARY OF 
 THE VATICAN. TWELFTH CENTURY. 
 
 1. Christ praying in the garden. 
 
 2. Peter cuts off the ear of Malchus ; the kiss of Judas ; 
 the taking of Christ prisoner. 
 
 3. Christ conducted before Pilate by the Jews. 
 
 4. John and the Virgin, with holy women, at the foot of 
 the cross. 
 
 5. Jesus is buried by the Virgin, John, and Joseph of 
 Arimathea, accompanied by holy women. 
 
 6. Jesus rises triumphantly from the grave. 
 
 7. Various figures painted on the borders of the manuscript. 
 
 8. Christ disputing with the doctors. 
 
 9. The transfiguration of Jesus Christ on Mount Tabor. 
 
 10. Job on his dunghill exposed to the insults of his wife. 
 
 11. Two other miniatures from the same manuscript. 
 
 12. A line of writing as a specimen, traced from the original ; 
 the marks over the words appear to be musical notes. 
 
 13. Complete alphabet of cursive writing. 
 
 14. Another alphabet of irregular cursive character, consist¬ 
 ing of twenty-nine letters, with all its varieties ; it would contain 
 thirty-seven letters, had there been room to give them on the plate. 
 
 15. Example of the ornamental letters in this manuscript; 
 the first contains an outstretched hand. The miniatures on this 
 plate are from a manuscript of the library of the Vatican, 
 No. 1156, entitled, “ Lectiones evangeliorum, per anni circulum, 
 juxta ritum ecclesiæ Græcæ et Kalendarium sanctorum aureis 
 characteribus exaratum the cover, of red morocco, bears the 
 arms of Pope Paul V., of the house of Borghese. It is a folio, 
 more than a foot in length and ten inches in width, consisting of 
 
 three hundred and forty-four pages of yellow parchment. 
 There aie four different kinds of letters : the first consisting 
 of ornamented letters of various forms without figures, some of 
 which are like No. 15, with an outstretched hand ; the second 
 consists of letters in gold, half the size, used chiefly for titles ; 
 a third kind consists of very large letters used for words enclosed 
 in circles,—these are again enclosed in squares and the comers 
 ornamented; the fourth kind is that of the alphabet No. 14, 
 consisting of twenty-nine letters, and, as remarked, with all its 
 varieties would make thirty-seven. The alphabet given in 
 No. 13 of regular letters, makes the varieties in the form of the 
 letters perceptible, as also the numerous abbreviations, a conse¬ 
 quence of the decline which, according to Montfaucon, was 
 complete in the twelfth century. (Paléographie grecque, lib. iv., 
 chap. 6.) Many of the letters are written in gold ink ; the 
 ground of the paintings is of gold leaves stuck on and burnished. 
 The long lines and round dots in red ink over the words are, 
 according to the same author, musical notes. (Ibid, lib. v., 
 chap, iii.) When the singularities of the writing of this 
 manuscript, the small isolated figures on the borders, and a host 
 of other uninteresting ornaments, are considered and compared 
 with those of the Greek menologe given in plates xxxi., xxxii., 
 and xxxiii., the date of this manuscript will certainly be placed 
 in the twelfth century. It will be seen that the subjects of the 
 miniatures of this manuscript, from the lives of the Virgin Mary 
 and Jesus Christ, as also many others from the Old Testament, 
 are constantly repeated on wood, or in fresco paintings, of the 
 following centuries. 
 
PLATE LYIII. 
 
 PANOPLIA, A GREEK MANUSCRIPT OF THE VATICAN. TWELFTH CENTURY. 
 
 1. An assemblage of the fathers of the church who assisted 
 in the execution of the work entitled Panoplia : over then- heads 
 their names are given abbreviated. They appear to be offering 
 their work to the Emperor Alexius I. 
 
 2. The Emperor Alexius Comnenus, by whose order the 
 Panoplia was composed. He appears to be listening to the 
 fathers and receiving their writings. 
 
 3. The same prince presenting the work to Christ for his 
 blessing. 
 
 4. Another painting representing Christ in the act of 
 blessing. 
 
 5. Various lines of the writing traced from the manuscript. 
 The great exertions of the Emperor Alexius I., during a long 
 and disturbed reign, to guard religion against the innovations of 
 the heretics who were very numerous at this time, ought to be 
 highly prized. Finally, he made use of the pen of the learned 
 and pious Euthymus Zygabene, a basilian monk of Constan¬ 
 tinople, who executed a work under the title of “ Dogmatica 
 Panoplia,” or a magazine of arms against every kind of heresy. 
 This manuscript, in the library of the Vatican, No. 666, consists 
 of two volumes divided into twenty-four books; the writing, of 
 which a specimen is given in this plate, is not so beautiful as 
 that of more ancient manuscripts. The painting on the first 
 page of this manuscript, as also Nos. 2, 3, are painted on a gold 
 ground; it represents the Greek fathers of the church from 
 
 whose writings the author of the Panoplia took his weapons; 
 their names are given over their heads, the upper dresses are 
 painted green or red, the under, blue or white, the pallium is 
 white with black crosses, the stole of gold, and the shoes black. 
 The figure of the Emperor Alexius, No. 2, is painted on the 
 second page of the manuscript ; his diadem is of gold, his mantle 
 lake with gold flowers, his under dress blue with red shoes. 
 The painting of No. 3 is on the other side of the same page; 
 the dress of the emperor is different both in form and ornament 
 to the first ; the mantle is of gold with stripes of precious stones, 
 the under dress is in lake, and the book in his hand gold; 
 Christ is sitting on a red pillow, the draperies and footstool are 
 in gold. The writing above and below these paintings are in a 
 kind of iambic verse in red ink, containing details of the various 
 subjects, with praise of the pious emperor by whose order it was 
 composed. There is a Panoplia manuscript in the library at 
 Vienna; and Montfaucon also quotes one of the fourteenth 
 century in the library of the learned Baluzzo, from which he 
 gives an extract with a specimen of the writing. The work of 
 Cave, “Script, eccl. historia litterari a. 1116,” maybe referred 
 to on this subject. The “ Dogmatica Panoplia,” with other 
 works of the learned Zygabene, has been printed both in Latin 
 and Greek at Lyons, Paris, and Venice. In 1710 this work 
 was reprinted in Wallachia in the Greek language, with those 
 parts omitted which might offend the Turks. 
 
PLATE LIX. 
 
 MINIATURES FROM A GREEK MANUSCRIPT, BOOK OF THE EVANGELISTS, IN THE LIBRARY OF THE VATICAN. 
 
 TWELFTH CENTURY. 
 
 1. Jesus Christ, between the figures of Justice and Mercy, 
 blessing the Emperor John Comnenus II. with his right hand, 
 and his son the Prince Alexius with the left ; shown by the 
 inscription at the sides. 
 
 2. Figures of Matthew, Mark, Luke, and John, at the com¬ 
 mencement of the book of the evangelists. 
 
 3. The birth of Christ, painting at the commencement of 
 the gospel of St. Matthew. 
 
 4. The baptism of Christ in the Jordan, from the gospel of 
 St. Mark. In the foreground there is a small figure, who before 
 entering the river, is drawing on something resembling a pair of 
 black boots, of the kind which Montfaucon calls “ Atramentum 
 metallicum ad ligulam calceorum denigrandam.” 
 
 5. The birth of John the Baptist, painting from the gospel 
 of St. Luke. 
 
 6. The resurrection of Christ, from the gospel of St. John. 
 
 7. An ornament running along the edge of the manuscript. 
 
 8. Four ornaments or vignettes, from the four gospels. 
 
 9. Cursive alphabet, with all the varieties, consisting of 
 thirty-eight letters. 
 
 10. Alphabet of initial letters in this manuscript. 
 
 11. Note in a different hand to that of the body of the work, 
 seeming to indicate a sum paid for the manuscript. 
 
 12. Another note, with the date 6636-1128 of the Chris¬ 
 tian era. The beautiful manuscript from which these paintings 
 are taken is in the library of the Vatican, No. 2; it contains 
 the four gospels in Greek. On the third page, under the ai ms of 
 Montefeltro, belonging to the first dukes of Urbino, there is a 
 note in a different hand, apparently by some one who had pur¬ 
 chased the manuscript. The following pages contain the cano¬ 
 nical writings of Eusebius. At the commencement of each of 
 the gospels, the evangelists are painted on a gold ground. 
 There is a list of the chapters and verses in honour of the 
 evangelists, all written in gold, and highly ornamented. The 
 book contains three hundred and twenty-five pages, written on 
 very fine parchment, the last of which is written in green ink. 
 This costly work is a proof of the high honour in which the 
 sacred writings and the books which contained them were held, 
 both by emperors and Christians. (Vetera Monimenta, vol. i., 
 cap. xvi.) 
 
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PLATE LX. 
 
 A SELECTION OF PASSAGES FROM THE GREEK FATHERS OF THE CHURCH ON THE BOOK OF JOB. 
 MANUSCRIPT OF THE THIRTEENTH CENTURY. 
 
 1. The patriarch Job, with his seven sons and three daughters. 
 
 2. Job tears his garments on learning the death of his 
 children. 
 
 3. The death of Job ; he is lamented and buried. 
 
 4. Job receives intelligence that the Chaldeans have killed 
 his servants, and stolen his cattle. These four subjects are traced 
 from the originals, as also the writing above them. 
 
 5. Twenty-four subjects from the life of Job; to give an 
 idea of their style and composition, the size is considerably 
 reduced. 
 
 6. Cursive alphabet from this manuscript. 
 
 7. Another cursive alphabet in a Greek manuscript of the 
 Vatican, No. 758; it was written for one of the Comneni in 
 1173. The similarity of the character with that of the book of 
 
 Job fixes the date of the latter in the twelfth or thirteenth 
 century. 
 
 8. Part of a note by the writer of the manuscript of Job, by 
 which we find that he was a priest at Tarsus, named John. 
 
 9. Some writing in a different hand to that of the manuscript, 
 stating that it came into the possession of Madame Anna, daugh¬ 
 ter of one Luke, a notary, in the month of March, 1470. The 
 subjects given on this plate form only a small part of those which 
 decorate the manuscript, No. 1231, in the library of the Vatican. 
 The titles of the chapters are written in gold, and but very few 
 of the letters are ornamented. The extravagance in the style of 
 composition and incorrectness of the drawing in this manuscript 
 of the thirteenth century, prove the degradation of art at this 
 period, especially in painting. 
 
 
 Painting P 
 
A BULGARIAN CHRONICLE, RUNIC MANUSCRIPT IN THE LIBRARY OF THE VATICAN. 
 THIRTEENTH OR FOURTEENTH CENTURY. 
 
 1. Jesus on the cross, with the Virgin and St. John on 
 either side ; this painting is on the seventy-fifth page of the 
 manuscript. 
 
 2. Jesus Christ, with the Virgin, St. John, and angels, 
 receiving a young Bulgarian prince in the land of the blessed. 
 The inscription explains that Christ, who promised that the 
 thief on the cross should meet him in Paradise, would also take 
 Asen, son of the Emperor John Alexander, and recommend him 
 to the patriarch Abraham. 
 
 3. John Alexander, king of Bulgaria, crowned by an angel ; 
 on his right stands Jesus Christ, and on his left Constantine 
 Manasses, the author of this chronicle. 
 
 4. The Emperor Philip Bardanne ordering the execution of 
 Tiberius, son of Justinian, at the door of the Church of the 
 Virgin. 
 
 5. A battle of horsemen ; the use of horses was very uni¬ 
 versal with the Bulgarians, which possibly accounts for their 
 being rather better drawn than other figures by the Bulgarian 
 painters. 
 
 6. The ceremony of baptism, according to the Russian rite 
 
 (p. 166.) 
 
 7. A complete alphabet of the letters used in this manuscript ; 
 they are all capital letters, as can be seen by the inscription over 
 No. 2. 
 
 8. Joshua, elected as leader by the Israelites, is carried by 
 them on a shield. 
 
 9. David carried on a shield, and crowned ; painting from a 
 <'reek manuscript of the tenth century, quoted by Montfaucon. 
 (Monumens de la Monarchie Française, vol. v.) 
 
 10. Pharamond (according to tradition first king of France) 
 carried on a shield by soldiers ; the reverse of a medal discovered 
 by J aques de Bie, and taken from the work “ La France 
 métallique;" Paris, 1636. 
 
 11. Solomon borne on a shield and crowned, by order of 
 David. This painting is on the two hundred and eighty-first 
 page of a Greek manuscript in the library of the Vatican, No. 1 
 of the manuscripts of Queen Christina. It contains the histo¬ 
 rical part of the sacred writings, with some psalms at the end ; 
 it is in folio, divided into two columns, with three descriptions of 
 writing, viz., large and beautiful letters, initial letters, and cursive 
 writing, similar to that of the tenth and eleventh centuries ; but 
 the paintings, eighteen in number, are uncertain, and appear to 
 have been executed one or two centuries later. The manuscript | 
 from which the subjects on this plate are taken is among the j 
 Runic manuscripts of the library of the Vatican. To gain I 
 complete information, the work of Joseph Simon Assemani, | 
 director of this library, should be referred to, “Kalendaria 
 ecclesiæ universæ,” etc. ; Romæ, 1755, p. 203 of the fifth part, 
 where he says, t; Codex membranaceus in fol. littei'is et sermone 
 Slavico elegentissime exaratus, signatus inter Slavicos No. 1, con- 
 tinet Constantini Manassis compendium chronicum e Græco in 
 Slavicum conversum et ab anonymo interprète régi Bulgarorum 
 
 et Græcorum Joanni Alexandra muncupatum; cum figurisimpe- 
 ratorum Constantinopolitanorum et ejusdem Joannis Alexandri 
 
 atque filiorum, nec non rcrum ; quæ in singulis capitibus e 
 sacris literis narrantur ; incipit enim a creatione mundi et desinit 
 in Nicephoro Botoniata qui ab anno Christi mlxxviii. ad mlxxx. 
 imperavit. Idem porro chronicum Manassis compendium Græce 
 et Latine prodiit inter scriptores Byzantinos Parisiis, 1655. 
 
 From this indication, Assemani corrects the errors of a 
 former notice joined to the manuscript; he then gives a full 
 description of the paintings in this manuscript, and concludes, 
 I from the picture representing John Alexander, who reigned in 
 1350, that it was executed at that period. The barbaric style 
 1 of the painter or calligrapher makes one conjecture that he was 
 a Bulgarian. Like other painters during the decline of art, he 
 1 gives the costume and customs of his own time and people, and 
 i shows great ignorance of the habits of other nations; this is 
 particularly exemplified in No. 8, where Joshua is represented 
 borne on a shield by soldiers when elected leader of the 
 Israelites, a mode of election unknown among the Hebrew 
 people, but common among the northern nations from the 
 j earliest period. Tacitus mentions a similar ceremony used by 
 the people of North Holland upon the election of their General 
 ( Brinno (Hist., lib. iv.) Cassiodorus mentions that King Vitiges 
 was borne in this manner, according to the ancient custom of 
 j the Goths : “ Ut honorem arma darent, cui bella opinionem 
 ! pepererant” (lib. x., epist. xxxi.) This custom descended to 
 the Romans, who used it at the election of their emperors and 
 generals; from the latter the word “imperator” originated. 
 
 ! Gordianus Africanus was honoured in this way ; and the 
 Emperor Justinian, according to Corippus (De rebus gestis 
 Justini, vol. ii.), received the same honour:— 
 
 Quatuor ingentem clypeis sublimibus orbi 
 Attolunt lecti Juvenes. 
 
 Byzantine historians inform us that this custom was in use at 
 the court of Constantinople : “ Novus Imperator scuto insidens 
 in altum attolitur.” (G. Codinus, De officiis aulæ Constantinopo- 
 litanæ.) In a manuscript of the twelfth century by Orosus, we 
 find the following :—“ Agisulphus elevatus Rex,” which proves 
 that this custom was used by the Lombards. Montfaucon men¬ 
 tions in the introduction to his work “ Monumens de la Monarchie 
 Française,” that this ceremony was used at the nomination of 
 the earliest kings of France. Voltaire alludes to this custom 
 when he makes Henry IV. utter these words : 
 
 C’est sur un bouclier, qu'on vit nos premiers maitres 
 Recevoir les hommages de nos braves ancêtres. 
 
 In the same work Montfaucon mentions the subject given in 
 
 and crowned), as the only known representation of this cere¬ 
 mony ; he could certainly neither have known the miniature of 
 i this Runic manuscript, No. 8, or that of No. 11 from the Greek 
 j manuscript in the library of the Vatican. They are placed here 
 to show the ignorance of the Greek painters of that period, who 
 thus applied a custom of their own time upon the election of a 
 governor. 
 

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PLATE LXII. 
 
 PART OF THE BIBLE, A GREEK MANUSCRIPT OF THE FOURTEENTH CENTURY. THE FIRST DAWN OF THE 
 REVIVAL OF ART, AND CONCLUSION OF THE HISTORY OF MINIATURE PAINTINGS IN GREECE. 
 
 1. Specimen of cursive writing in this manuscript. 
 
 2. Abraham prays to God for the just who might be found 
 in Sodom. 
 
 3. Noah receives the command of God to build an ark for 
 himself and family. 
 
 4. The Red Sea swallows up the army of Pharaoh, when the 
 Israelites had passed through. 
 
 5. Miriam, Aaron's sister, with her companions. “ And 
 Miriam the prophetess, the sister of Aaron, took a timbrel in 
 her hand, and all the women went out after her with timbrels 
 and with dances." (Exodus, chap, xv., v. 20.) 
 
 6. Moses commands Joshua to slay the Amalekites. 
 
 The Greek manuscript from which these paintings are taken, 
 is in the library of the Vatican, No. 746 ; it contains fragments 
 of the Scriptures, besides more than a hundred questions on the 
 book of Genesis, some of which are very extraordinary. The 
 answers to these questions are by Theodoretus, bishop of Cyrus, 
 
 in the fifth century, and are given among his works printed by 
 Sismondi. Cave, in his “ Histoire des écrivains ecclesiastiques,” 
 gives some interesting particulars of the life and virtues of this 
 learned Greek father of the church, who was so true to the 
 name given him by his parents, and to the instruction of the 
 eloquent Chrysostom. “ Gifted by nature with a great mind, he 
 spared neither industry or discipline, and is without doubt the 
 most learned man of his age.” The custom of proposing ques* 
 tions to test the knowledge of churchmen, was still in use in the 
 ninth century. The one proposed by Charles the Bald to the 
 Bishop of Rheims and the Abbot of Ferrieres, is well known. 
 This manuscript consists of two hundred and fifty-one pages of 
 ordinary parchment. There is a miniature painting in almost 
 every page, of the same size as those given on this plate. The 
 character of the writing of this manuscript is rather large 
 cursive, but it is not exactly the same all through ; the headings 
 of the chapters are written in red ink. 
 
PLATE LXIII. 
 
 A COLLECTION OF PAINTINGS REDUCED FROM A MANUSCRIPT OF THE VIRGIL IN THE VATICAN, No. 3867. 
 TWELFTH OR THIRTEENTH CENTURY. 
 
 CONTINUATION OF THE HISTORY OF PAINTING ÏN MANUSCRIPTS IN ITALY. 
 
 1. A portrait of Virgil as given on the ninth page of the 
 manuscript, traced from the original. The two lines printed at 
 the sides are not found in the original. 
 
 2. The nineteen miniatures which decorate this manuscript; 
 they are given in a third of their original size, and are published 
 for the first time. It is singular that the portrait of Virgil at 
 the commencement of the book is repeated three times without 
 any motive. The first subjects relate to the Eclogues, the lat¬ 
 ter to the Æneid. The small numbers under the paintings with 
 manuscript letters, give the page of the manuscript, 3867 ; the 
 others, with the letters F. S. B., give the numbers of the plates, 
 engraved by Pietro Santi Bartoli, who took five subjects from 
 
 this manuscript to complete his edition of the celebrated manu¬ 
 script in the Vatican, No. 3225. (See pi. xx.) Although the 
 paintings of this manuscript, No. 3867, are very mediocre, it is of 
 great value with relation to ancient literature. The text is writ¬ 
 ten in square uncial letters, a majestic character which Pierius 
 Valerianus considers to be Roman. Mabillon quotes these letters 
 as the kind generally used in the early ages, and although the 
 painting is so bad, as to be attributed to a much later period, the 
 composition appears to belong to an earlier, and may therefore be 
 copied from a better original. With the exception of a few verses, 
 this manuscript contains the whole of Virgil's poems ; it contains 
 three hundred and nine pages ; the titles are written in red ink. 
 
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PLATE LXIV. 
 
 A PAINTING IN LARGER SIZE, AND A SPECIMEN FROM THE WRITING OF THE VIRGIL OF THE VATICAN, Ns. 386r 
 TWELFTH OR THIRTEENTH CENTURY. 
 
 1. Æneas and Dido in the grotto: 
 
 Speluncam Dido dux et Trojanus eandem 
 Devenient .... 
 
 Æneid, lib. iv., v. 124. 
 
 This painting on pago 112 of the mannscript is ftom a tracing 
 of the original. 
 
 2. Specimen of the writing of the Virgil of the Vatican, 
 No. 3867, very carefully traced. 
 
 3. Two marginal notes, proving that this mannscript for- 
 merly belonged to the Abbey of St. Denis. 
 
 4. Belhsare— Jean Courtois ; these two names, traced from 
 pages 4 and 78, are probably those of the former possessors, or 
 perhaps only of those who were proud of having read this 
 manuscript. 
 
 5. A tracing of the three first verses of the Æneid written 
 in the old French language on page 78, by some idle reader. 
 
 From the characters traced from page 309, it appears there were 
 nineteen paintings in this manuscript. 
 
 6. xbm Estorie ; these numbers appear to bo Arabic, such 
 as were commonly used in France on their first introduction. 
 Sec “Dictionnaire raisonnée de diplomatique,” par Dorn de 
 Vaines, vol. i. With regard to the word “ Estorie ” (Histories), 
 it is known that the early French had historical pictures before 
 they possessed written histories. 
 
 7. A note in old French, on page 76 of manuscript, by which 
 Juno is reproached for being the cause of the tempest to which 
 the Trojans were exposed : 
 
 Vechi oomme les Gens les quiex estoient en la mer 
 Estaient tourmentés pour le pechié dune 
 Seule ch'est à savoir Juno. 
 
 The headings of the chapters of romances were given somewhat 
 m tins style in the thirteenth and fourteenth centuries. 
 
 Paintino Q 
 
PLATE LXV. 
 
 THE PAINTINGS COMPARED FROM SEVERAL MANUSCRIPTS OF VIRGIL, FROM THE FIFTH TO 
 THE TWELFTH CENTURY. 
 
 Although we have already given various examples of the I 
 character used in the different manuscripts of Virgil, we place 
 the alphabets together here, for the benefit of those who are 
 interested in the study of calligraphy. 
 
 1. Alphabet of the square uncial letters used in the beautiful 
 manuscript of the Vatican, No. 3867 ; of the twelfth or thirteenth 
 century. See pi. lxiii. and lxiv. 
 
 2. Alphabet from another manuscript of Virgil in the 
 Vatican, No. 3225 ; of the fourth or fifth century. See pi. 
 XX. to XXV. 
 
 3. Alphabet from the celebrated manuscript of the library 
 of S. Lorenzo in Florence (desk 39). A révisai of this manu¬ 
 script was undertaken in the fifth century by the Consul | 
 Turcius Rufus Asterius Apronianus, on account of his great , 
 admiration for the poems of Virgil, as seen by a note in his own 
 hand, giving at the same time an undoubted specimen of the 
 written character of that period. In 1741 the learned Foggini 
 published at Florence an edition of this manuscript in 4to. ; 
 this alphabet, however, is not traced from that edition, but from 
 some original pages of the manuscript which are still preserved 
 in the library of the Vatican, to which, there is no doubt, the 
 whole of the manuscript belonged before it went into the 
 possession of the Duke of Tuscany. It is worthy of remark, 
 that at the best period of the arts, the writers of the Greek and 
 Latin manuscripts sought for beauty in the character alone, not 
 in the multiplicity and richness of ornament, and much less by 
 means of fantastic forms, used up to that time and, again, at 
 a later period. 
 
 4. Herdsmen watering their flocks, a subject from the 
 Georgies of Virgil. (Lib. iii., v. 327.) This engraving is an 
 exact copy of one by Pietro Santi Bartoli, given in the fifth 
 plate of his edition of Virgil. 
 
 5. The same subject, traced with the utmost care from the 
 original manuscript, No. 3225. A comparison of this engraving 
 with the preceding by P. S. Bartoli will show to what an extent 
 he deviated from the original, and give an illustration of the 
 
 remarks made on this subject in the explanation to plates 
 xx. and xxi. 
 
 6. A pastoral scene from the manuscript of Virgil, No. 3867. 
 This subject, from a tracing of the original, has already been 
 given, in reduced size, in pi. lxiii. It is chosen as a painting 
 of the fourth or fifth century, to compare with the representation 
 of the same subject of the twelfth century in the preceding, and 
 to show the decline of art between these periods. 
 
 7. Juno, enraged against Io, daughter of Inachus, meta¬ 
 morphosed into a cow, sends a malicious insect to torment her, 
 and thus drives her mad : 
 
 Hoc quondam monstro horribiles exercuit iras 
 Inachiæ Juno pestem meditata juvencæ. 
 
 Georo., lib. iii., v. 152. 
 
 8. The young bulls grazing in rich pasture : 
 
 Ctetera pascuntur virides armenta per herbus. 
 
 Georg., lib. iii., v. 162. 
 
 9. Æneas leaves the shores of Troy with his sons, his 
 companions, and his household gods : 
 
 Littora quum patriæ lacrymans portusque relinquo, 
 
 Et campos, ubi Troja fuit; feror exsul in altum 
 G um sociis natoque, Penatibus et magnis dis. 
 
 Æneid, lib. iii., v. 10. 
 
 10. The Trojans defending a tower against the attack of 
 the Latins : 
 
 Turns erat vasto suspectu et pontibus altis 
 Opportuns loco, summis quam viribus omnes 
 Expugnare I tab, summâque evertere opunr vi, 
 
 Certabant ; Troës contra defenders telis. 
 
 Æneid, lib. ix., v. 530. 
 
 The four subjects given under Nos. 7, 8, 9, 10, are the same 
 as those mentioned in plate xx., which originally decorated the 
 manuscript No. 3225, but are now quite obliterated ; we are, 
 therefore, only able to give them from the engravings of 
 I p. S. Bartoli, who copied the paintings about a century ago. 
 
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PLATE LXYI. 
 
 PAINTINGS FROM A POEM IN HONOUR OF THE COUNTESS MATILDA, A LATIN MANUSCRIPT OF THE 
 TWELFTH CENTURY. 
 
 Notwithstanding the depth to which the art of painting had 
 fallen in the twelfth and thirteenth centuries, it was still applied 
 to one of its original chief objects, viz., that of giving the history, 
 and honouring the virtues of celebrated persons. With this 
 double object Donizon of Canossa, a priest and Benedictine 
 monk, in the year 1115, wrote the poem in honour of the good 
 deeds and distinguished virtues of the Princess Matilda. The 
 piety which above everything contributed to her celebrity, forms 
 the chief subject of the paintings in this poem, the whole of 
 which are given on this plate. 
 
 1. Principal painting of the manuscript occupying a page of 
 the same, traced from the original. It is divided into two equal 
 parts, the upper representing a king, accompanied by his knights, 
 who gives to the Lord of Canossa a box containing relics of S“- 
 Corona, while two other persons stand behind carrying those of 
 St. Victor. The lower part represents the Bishop of Brescia 
 cutting an arm from the body of St. Apollonius, the former bishop, 
 to send to his father, Atton. 
 
 2. The Countess Matilda sitting on a throne ; on her left 
 stands a sword-bearer or captain of the body-guard, and on her 
 right a monk, probably Donizon himself, presenting his poem, 
 with the following line underneath :— 
 
 f&atï)ilbiÿf luccnsf, ptccor, fjoc cape. data, bolumen. 
 
 This painting is on the first page of the manuscript. 
 
 3. The upper part of this painting represents Atton, great 
 grandfather of Matilda, with his consort Udegarda; and the 
 lower his three sons, Rodulfus, Bishop Gotefredus, and 
 Thedaldus (fol. 12 of the manuscript). 
 
 4. The Marquis Thedaldus, grandfather of the Countess 
 Matilda, with his consort Countess Giulia ; underneath are their 
 children, the Bishop Thedaldus, Bonefacius, and Conradus(fol.l3). 
 
 5. Bonefacius, son of Thedaldus, duke and marquis of 
 Tuscany, father of the Countess Matilda (fol. 20). 
 
 6. Beatrix, consort of Bonefacius, and mother of the Countess 
 Matilda (fol. 22). 
 
 7. Matilda on her throne ; on her right sits an abbot with 
 his mitre and crosier, and a long is kneeling at her feet, probably 
 intended to represent the Emperor Henry the Fourth and the 
 abbot Hugo de Cluny, at whose request, in conjimction with 
 that of the Countess Matilda, absolution was granted, in 1077, 
 by the pope, to this monarch. The line under this painting 
 alludes to the subject :— 
 
 IRcr togat îtbbatcm, ^atfjitoim pupplicat atqttc. 
 
 8. A verse of the poem, traced from the original, to give a 
 specimen of the written character of that period, 1115. 
 
 9. A complete alphabet of the cursive writing used in the 
 manuscript. 
 
 10. Another alphabet of smaller letters. 
 
 11. Alphabet of capital letters. 
 
 12. Ornamental capital letters used at the beginning of 
 every chapter. This manuscript is written on ordinary parch¬ 
 ment, and is in the library of the Vatican, No. 4922. The ma¬ 
 nuscript has a border of green or gold net work ; nearly all the 
 verses finish with a stop and comma, and notes of interjection 
 are very frequent, without any apparent reason. The seven first 
 pages relate to various subjects, such as, a list of valuables, taken 
 by the countess from the treasures of the Church of Canossa 
 and given to the Church of Rome, a list of what she gave as 
 compensation, a dedication to the princess by the poet, and a list 
 of the chapters in the poem ; on the seventh page there is a 
 kind of prologue, on the reverse of which the first large picture 
 is painted, and the commencement of the poem, which concludes 
 on the seventy-eighth page. The author, on learning the death 
 of the countess, adds a verse on this event, with an address to 
 
 the castle and town of Canossa, through which he still glorifies 
 his heroine. Most of the verses rhyme in the middle and at the 
 ends, and according to another custom of that period there are 
 two acrostics; one is from the capital letters of the prologue, 
 which make the following verse :— 
 
 JTilia ilflatljilbiÿ 3Sonifacii. 33ratrici£ 
 
 J12unc ancilla Dei. filin bigna Petri. 
 
 The last verse of the prologue informs us that the names of 
 Matilda and her parents are given in this acrostic :— 
 
 3Tp.#htÿ l)i bctgutf bant notnen. bant que parentum. 
 
 The other acrostic, which is in chap, xx., contains the name and 
 qualities of the author in the following words :— 
 
 “ Prc.a'bptcr fjunc librum fincit. monacljus'quc Donijo.” 
 
 This chapter, the last of the second book and of the poem, 
 contains, in forty-two verses, of which each of the letters of the 
 verse we have cited is the first, the sum of the praise of Matilda. 
 The forty-third verse thus terminates the work :— 
 
 JFini .0 nbest iibri. D omnium faubemuj?. amici. 
 
 We gain some information as to the former possessors of this 
 manuscript in two notes; the first, on the sixth page, runs thus 
 “ 1491, Die 21 Octobris, habui hanc historiam à Magistro Jacobo 
 de Torredano ; ” and the other, which is on the first page of the ma¬ 
 nuscript, “ Emptum ex libris Cardinalis Sirleti.” This cardinal 
 was librarian at the Vatican, and himself possessed a valuable 
 collection of books, of which he made great use in his learned 
 researches. The first edition of this manuscript was given in 
 1612, by the imperial librarian Tengnagel, or rather by the 
 Jesuit Gretzer in his “ Monumenta Vetera contra Schismaticos.” 
 Leibnitz included this poem in his collection, and published it 
 1707 in his “ Scriptores Brunswicensia illustrantes ; ” and lastly, 
 Muratori published it in 1742 in his “ Rerum Italicarum scrip- 
 tores” (vol. v., p. 337). He mentions that he derived assistance 
 from two other very ancient manuscripts in the publication of 
 this poem, one of which belonged to the library of the Abbot 
 Polirone; the other, to the Marquis Cagetano Canossa, who lived 
 at Reggio. Muratori considers the manuscript to be of the four¬ 
 teenth century ; the writer of it mentions his own name thus :— 
 
 Lector, amorc Dei gaepe memento mci. 
 
 Jfiitito libro referatur gratia Christo ; 
 
 H’criptori Iibri bonctur gratia Cljripti ; 
 
 Routine qui bicitur Sanriinuÿ. 
 
 In another poem by Donizon of the book of Genesis, he gives the 
 name of a painter nowhere else mentioned :— 
 
 ©ace pinrit ccrtnh luccnsi# pietor Obcrtuh. 
 
 Muratori does not mention whether the paintings of this artist 
 are those in the poem or the book of Genesis, or in the one 
 dedicated to the Countess Matilda. Those who desire more 
 minute particulars of the Countess Matilda than are given by 
 her panegyrists, must refer to the “ Histoire d’Italie,” where her 
 descent is traced from St. Mark. The benefits she conferred on 
 the church and its servants, excited for her at two very distant 
 periods the gratitude and the poetical talent of two very different 
 men. The Monk Donizon honoured the great countess in the 
 twelfth, and Pope Urban VIII. in the seventeenth century ; in 
 an Italian ode, the latter says of Matilda :— 
 
 Non di vil mirto, o di caduchi fiori, 
 
 Tesser ghirlande la mia man si pregia. 
 
 He did still more, for in 1635 he had the body of Matilda 
 removed from the Convent of San Benedetto at Mantua, and 
 placed in a costly mausoleum at St. Peter’s in Rome. 
 
PLATE LXYI1. 
 
 A COLLECTION OF BULLS AND EXTRACTS FROM CHRONICLES, LATIN MANUSCRIPTS OF THE 
 TWELFTH AND THIRTEENTH CENTURIES. 
 
 1. The five paintings under this number are taken by Agin- 
 court from a collection of bulls preserved in the archives of the 
 Castle of St. Angelo (Case iii.) These paintings, in the fifth 
 part of the original size, relate to various bulls given by the 
 popes; as the last of these is by Anastasius IV., 1153-1154, and 
 the date on the manuscript is 1172, it is clear that this manu¬ 
 script is of the twelfth century. The writing is similar to that 
 of the alphabet under No. 3. 
 
 2. One of the five preceding subjects of the original size ; it 
 appears to be a deputation of the inhabitants of Tivoli, making 
 an oath to the pope, represented as St. Peter. 
 
 3. Alphabet of cursive character from the manuscript, No. 1. 
 
 4. The Emperor Constantine sitting on a throne, with his 
 crown and sceptre ; this subject, as well as No. 5, and all those 
 on the lower part of this plate, are taken from a Latin manuscript 
 in the library of the Vatican, No. 927. This figure is the only 
 one which is coloured, the rest are only drawn in outline, in an 
 ink similar to that used for the writing. 
 
 5. Kings Theodoric and Odoacer fighting ; these figures 
 are drawn in outline, and belong to the manuscript, No. 927. 
 
 6. Nine sketches from the same manuscript ; the figures 
 are given in a third of their original size ; two have already 
 been given, under Nos. 4 and 5, in their true size. 
 
 7. A dead body wrapped in bandages, apparently that of 
 Petrus Comestor, as his epitaph is written near ; it runs thus :— 
 
 IPctruS cram quern petra tegit. bictusquc Comestor 
 JQunc comcbor ; bibuS bociti. ncc ccSSo borcrc. 
 
 JPIortuuS cSt. bicat qui me bibet incincratum. 
 
 ©nob SumuS ip'tc fuit, crimus quanboque quob ïjit cjït. 
 
 8. Specimen of cursive writing used in the manuscript. The 
 subject of this manuscript is a sort of general history from the 
 works of different authors, such as Trogus Pompeius, Justinus, I 
 Eusebius, Orosus, Cassiodorus, &c. The names of each are | 
 
 given over the subjects taken from their works. The extracts 
 from the chronicles are written by two different hands, one 
 ending in 1200, the other in 1223. The writer adds various 
 notes to the text, some of which relate to the chronological 
 contents, and are not without interest; others relate to the 
 persons only, and are very absurd ; for instance, he says,— 
 Cum bigittS Suis, nb Stribcnbttm Satis aptiS. We also 
 find phrases of a very peculiar kind of versification, the last 
 word of each line ending in the same letter. The one given 
 under No. 5 is of this kind, and runs thus ;— 
 
 Cobcr in quo Icgis istc 
 §?nncttT CrinitatiS case 
 Cuiu.s Situm cSt obile 
 IParunt a Verona longe. 
 
 It appears probable from these lines that the transcriber of 
 the manuscript was a monk of the Monastery Della Trinità at 
 Verona, particularly as, in another part, the consecration of the 
 church and the forming a well for this monastery are both men¬ 
 tioned. At the end of the calendar we read the following note 
 in the margin :— 
 
 anno mccrrii. Doc anno appariut Stella, quae bicitur eometiS, 
 cum facula, per bicS Vb. in mcnSc |?cptcmbn, Scqucnti bero 
 mcnsc. &al J13obcmbriS, cum cSSct luna jciii. npparuit tota 
 Sanguhtca ct obscura, per unam feve Ijoram ct mebiarn. 
 
 On the last page various events are enumerated, such as, an over¬ 
 flow of the Tiber ; an earthquake in the year 1185; and a con¬ 
 flagration at Verona, in 1170: besides these, there is an elegy 
 on an expedition of Saladin, a description of the Holy Sepulchre, 
 a hymn in honour of St Benedict, and various musical notes. 
 The subjects on this plate are published in this work for the first 
 time. The style of the paintings show that art had reached an 
 extreme state of degradation. 
 
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PLATE LXVIII. 
 
 PAINTINGS FROM TWO OBITUARIES; LATIN MANUSCRIPTS OF THE TWELFTH OR THIRTEENTH CENTURIES; 
 
 •C These figures are traced from a manuscript in the Vatican, of 
 which further mention is made. They represent the superior of the 
 monastery and the writer of the manuscript, whose names are given 
 in the verses underneath, which, although a little long, and from the 
 abbreviations difficult to read, we tliink well worth quoting :— 
 
 ©mm's guilts opts bccor quern beketat 
 33um inspectât oelts mantbus attrectat, 
 
 Sures etus mom'tis internas inflcctat; 
 
 Huera nam prubenttbus mnxibus corrcetat. 
 
 ®etras nam expltcttum opus p" auctorcs 
 ÿraba queq. resreat, (nstruttque mores, 
 iïlulcct rfsum; litteras, nobog, et colores 
 ïngerens optantibus exccllcnttores 
 ^uius sneer cbibit berba HJenrbtctus, 
 
 Seriptor est ffîustastus, sertptor tnbcbfctus; 
 ïsculus fmplo liber est conscuptus; 
 i3rtor monastcri 3}ogcs est bictus; 
 
 Sitponttnus bentq. potens inscultun's 
 iTtbtbts eolortbus nuro cælnturis 
 33ccorabit barils nobis ct figuu's, 
 iïliris nunc cfficicns mirum ligaturis. 
 
 Between the figures are some words traced from the manuscript to 
 give a specimen of the character, and on the right are twelve ornamental 
 capital letters of the most extraordinary and fantastical forms ; the 
 letters for which they are intended are placed at the sides in ordinary 
 character ; the small numbers under each refer to the numbers of the 
 pap of the manuscript from which they are taken. This manuscript 
 belongs to the library of the Vatican, No. 5949, and contains a calendar 
 with an obituary for the use of the monastery of S‘“- Maria di Gualdo, 
 in the diocese of Bcnevento. At the end there are prayers, and forms 
 of ceremonials according to the rites of this diocese, such as in blessing 
 
 ©ilieis ct ctnerum, super quos ponebantur bcfuncti. 
 
 The dates that we find fix the period of the execution of this manuscript 
 at the end of the twelfth or beginning of the thirteenth century There 
 is only one painting, given in No. 1, but each part begins with a laree 
 
 nf , ‘"P °\ a 1 8qUarC S üt ground, which also contains 
 
 the name ot the saints of each day. 
 
 2 Popo St Gregory pre.enting his wort to St. Andrew ; above, 
 Const is gmng Ins blessmg. This composition i. not withont merit 
 it is from a marmsonpt m the libraiy of the Vatican, No. 1274 Thé 
 character of the wntmg appears to belong to the tenth or even perhaps 
 to the math century : .t contains the name of the Al.bot Adcnullits. 
 
 4. t he Abbot Giovanni presenting his work to St. Benedict, from a 
 manuscript of the Benedictine Monastery of Monte Cassino. On the 
 back of the volume is the following title :_ 
 
 =353. Ptulus btacon fn régula 33cncbicit constcs monastics ct 
 Hongobnrbicfc ct alia Jiïlg». Inter quae egronicon buorum anom'morum 
 scu tgnotorum ffiassinensfum 241. 
 
 According to the lists there were three abbots of the name of Giovanni 
 at Monte Cassino m the tenth century. In this painting the robe of 
 St. Benedict is of a violet colour with black stripes; the under dress 
 is blue, the stole white with red embroidery; the colour of the dress of 
 the abbot who is presenting the book is nearly the same, with «ween 
 ornaments St Benedict in h.s rules says «De colore non curant 
 monachi ; and Padre Frederic, tl.e learned librarian of this monastery, 
 is ot opinion that the colours were selected according to the fancy of 
 the painter, and did not belong to the dress of the order. Nevertheless 
 of\TnntÜ n ?’ 1S - UOtCd T- aUt l loH 'y fbr the dress of the Benedictines 
 Padra AnanlT 1 ,! 0 / ^ ° piD10n .' S su PP orted by the remarks of 
 Padre An 0 elo del Noce, in an ancient chronicle belonging to this 
 monastery. (Descnzione di Morreale; Palermo, 1702, pi. xxvi No 12 
 "° b ” 
 
 lacgistruin xancti angel t a b formas 
 containing a list of the gifts made to this monastery in the eleventh and 
 twelfth centuries; in this manuscript there are pictures of the Abbots 
 Desidcrius and Odensius. ihree other manuscripts of the same period 
 ? ° f ?" "° Vern0rS of C « also of monks of"he 
 BenedicUne order. A manuscript, from which Montfaucon engraved 
 
 P 4 a! ahhn J t a fi TE )ianUn | 1 Ital î c i lm >” P- 323, is no longer to be found 
 4. An abbot sitting and receiving the dedication of a book from two 
 kneehng monks; this painting is from a manuscript of the archives of 
 the Benedictine Monastery della cava, between Naples and Salerno 
 Mabdlon, his Iter Italicum,” p. 118, mentions this manuscript in 
 the following words; ^Benedicti Cavensis monachi, de septem Slia 
 ad Balsamum abbatem. Agincourt gives the following title : “ Veuera- 
 
 Stae Trinirat- r 31 "’ 1 ™ u- Bcnedicti prenais monachi sac. mon. 
 Stae. Tnnuatis Cavensis milhus diœcesis ordinis S. Benedicti opus 
 quod de septem sigilhs msenbitur ad Rnffin, Dmïïm Balsammn abb"' 
 Cavensem fihalis deyotioms ergô. Anno salutis nostra;, MCCXXVII ” 
 The following is written in the margin of the painting : 
 
 Nota « gâc figura gahi.f ®mi abbat.s et ntonaregorum *. guius eænob.ï 
 
 The scat of the abbot resembles the curule chair; the cushion is red 
 with gold embroidery. He holds a crozier in his hand; his mitre has 
 a white ground with gold; being also a bishop, his pluviale, or canna 
 magna, is blue; the collar is adorned with interlaced ornaments; the upper 
 robe, caUed tonacclla, is red, and the stockings are worked with gold. The 
 
 dress of the monk is black, similar to those worn at present, with the 
 exception of the hood, which is more pointed. The ground of the 
 painting is red, shaded with black and blue; the drawing is better than 
 most of the same period ; there is some dignity in the figure of the abbot, 
 and the foreshortening is tolerably understood. The remainingmanuscripts, 
 of which Mabillon speaks, relating to King Roger and the laws of the 
 Lombards, were found by Agincourt ; but the great value of the archives 
 of tlus monastery consists in the immense number of title-deeds and 
 acts of the governors of Benevento, Salerno, and Capua, all connected 
 with events relating to wars, treaties of peace, and even to the crimes 
 and atonements of their princes. These documents give most desirable 
 information upon the history of these princes, which was previously 
 very obscure, especially during the eleventh, twelfth, and thirteenth 
 centuries. When Agincourt reached this monastery, which Montfaucon 
 does not mention in his “Diarium Italicum," he recommended the Padre 
 de Blasi, guardian of the archives, to make a worthy use of them, with 
 which suggestion he fully complied in the learned work he afterwards 
 published under the following title: “Series principum qui Longobar- 
 dorum ætatc Salerai imperarunt, ex vetustis sacri regii crenobii 
 Trinitatis Cavæ tabularii membranis eruta, corum annis ad Christiana; 
 aeræ annos relatis, à vulgari anno 840 ad annum 1077. Per 1). 
 Salvatorem Mariam de Blasio Panhormit. Casinatem eidem archivio 
 præpositum ; Neapoli, 1781." 
 
 5. The three preceding subjects show the custom of the presentation 
 of books in Italy ; the three following show that the custom also 
 existed out of Italy. These examples are taken from Montfaucon, 
 
 “ Mqnumens delà Monarchic Française,” vol. ii.,pl. xl., vol. iii., pi. vii. 
 to xii. The first painting is from a manuscript which, if we may 
 believe a letter from the Padre Resta (which letter is published in 
 the “Lettere Pittorichc,” vol. ii, p. 90, dated March the 8th, 1704 ), 
 fell into the hands of some barbarous lover of the arts, who ruthlessly 
 cut it up to dislributc the miniature paintings ; he considers at the same 
 time that it was a work of the time of Giotto. However this may be, 
 we see in the same painting Jean deMehun (who continued the “Roman 
 dc la Rose") presenting his translation ofBoetius’s book of consolation 
 to King 1 hilip le Bel. It appears that Jean de Mehun was as fond of 
 painting as of poetry, as several manuscripts of the “Roman de la Rose” 
 in the library of the Vatican are ornamented with pictures. In fact, 
 the title of this work seems to require and deserve such decoration. 
 
 . 6 - Nicholas Oresmes, instructor of Charles the Wise, presentino- 
 him with a translation of the political works of Aristotle; a manuscript 
 with this painting at the beginning. It is a proof of the high estimation 
 in which science was held by these two kings, Philip le Bel and Charles 
 V., that these works were presented to them when sitting on their 
 thrones and surrounded by the splendour of a court. 
 
 Charles V. has especially earned our gratitude by his regard for art; 
 and for the great service he rendered to learning by layimr the 
 foundation of the imperial library. It is also generally considered that 
 he formed the first society of painters in France, called the Académie dc 
 bt. Luc. His taste for painting induced him to number a painter 
 among his officers, who is given under the following number presenting 
 a miniature to his prince. 
 
 7. A painter on his knees presenting a manuscript to Charles V. of 
 b ranee, on the title of which there is a miniature painting. Montfaucon, 
 who gives this miniature painting in his “ Monumens dc la Monarchic 
 h rançaise, vol. in., p. 65, had two pages of the manuscript engraved. The 
 first contains a figure with a mitre holding a globe, probably intended 
 to represent the creator of the world; the other bears the followin'' 
 inscription :— ° 
 
 Ru commoucment créa 33ieux le ctcl ct la tent 
 
 indicating a manuscript of the Bible. He adds that at the commence¬ 
 ment ot the book there is an inscription in Latin to the following effect : 
 in the year of our Lord 1371 this painting was executed, in honour 
 and by the command of the most renowned Prince Charles, king of 
 France, m the thirty-fifth year of his age, and eighth of his reign^y 
 Jean de Bruges, painter to this king, with his own hand. Montfaucon 
 is of opinion that Jean de Bruges was probably the author of the other 
 manuscripts from which he quotes the paintings as belonging to the 
 fourteenth century Although the origin of these miniature paintings 
 may be of a somewhat later date than the others on this plate, they are 
 given here from the subjects being analogous, and thus assisting in the 
 investigation of chronological difficulties, so often to be met witfi in the 
 course of such studies, and at the same time concern a painter who 
 belonged to the most important class connected with the history of 
 modern art Agincourt remarks, “ As far as I know, there is no other 
 painter of the name of Jean de Bruges than Johann van Eyck, celebrated 
 as the discoverer of oil paintum; and as all his biographers say that he 
 was born in 1370, it is impossible that he could have been the author of 
 the painting mentioned above.” Karl van Mander, author of the lives 
 of blemish painters, and an authority to all other writers, tells us that 
 Johann van Eyck, as well as lus brother, Hubert van Eyck, were pupils 
 of their father. Is it not therefore probable that his name was also Johann, 
 and that he was court painter to Charles V. instead of his son? If this 
 hypothesis be true, we become acquainted, through these miniature 
 paintings, with a painter hitherto unknown; or if they are the work of 
 the celebrated artist, we must, as a consequence, fix the date of his birth 
 thirty years earlier, and with it the discovery of oil painting, raising 
 another ffifficulty upon this point in the history of art? alreadp 
 sufficiently unconquerable. Le Prince the younger, in his interesting 
 treatise on the general state of art in the middle ages, “Journal des 
 bayans, 1772, and quoted in the “Catalogue de la Bibliothèque de 
 Kothe in, does not consider it a mistake to fix the date of the birth of 
 dean de Bruges in 1370, i n support of which he refers to an illuminated 
 manuscript of the Bible presented by that artist to King Charles, and 
 r i • i, , ontaucon does not indicate the manuscript, or its contents, 
 of which he makes use; we may therefore assume that it was the same as 
 
 Painting It 
 
PLATE LXVm.— (Continued.) 
 
 that quoted by Le Prince. Every one must form their own judgment 
 on this opinion of Agincourt’s; as painters were very numerous in 
 the then rich and flourishing town of Bruges, of whom more than 
 one bore the very general name of John; besides which, the surname of 
 the brothers, van Eyck, would indicate that their birth-place, and 
 consequently the residence of their father, was in Niedermaas, not in 
 Flanders. The surname of “ Bruges” was, however, only given to John 
 van Eyck by foreigners from his place of residence at a later period. 
 The custom of ornamenting manuscripts with paintings became very 
 eneral during this and the following reigns, especially for works on 
 evotion and history. 
 
 Montfaucon adds to this a list of the valuables possessed by Charles V. 
 Besides golden statues of our Saviour and the Virgin Mary, caskets of 
 relics, and vessels of gold, there were tapestries on which the passion of 
 Jesus Christ was worked, with representations of the seven mortal sins, 
 also representations of the seven virtues, the seven sciences, and many 
 other subjects connected with history and religion, proving that both 
 coloured silk and wool were used for pictorial representations. 
 
 8. The subjects placed under this number are from another manu¬ 
 script in the library of the Vatican, No. 4939. The large figure which 
 occupies the centre, represents a prince in a sort of chariot with two 
 horses ; at his feet is the figure of an abbot, and underneath two lines of 
 writing as a specimen, traced from the original. At the sides a number 
 
 of small figures are given, wliich are painted on the borders of the 
 manuscript, and chiefly represent princes, abbots, or monks, conversing ; 
 the small numbers indicate the page of the manuscript from which they 
 are taken. 
 
 This last mentioned manuscript, as well as the one previously noticed on 
 this plate, contains an obituary on parchment for the Abbey della Santa 
 Sophia, in Benevento, and belongs to the end of the twelfth or beginning 
 of the thirteenth century, as the list of the dead is apparently written by 
 the same hand, and concludes in the year 1137, whilst other documents 
 which follow appear to be of a later period. The character of the writing 
 in these two obituaries is Lombard, as may be seen by the two specimens 
 given on this plate. Mabillon quotes the latter No. 4939, as an example 
 of this character. (De re Diplomatica, lib. v., p. 352.) 
 
 These obituaries have historical interest beyond their immediate pur¬ 
 pose, as the monks were accustomed to use them as a sort of chronicle. 
 Under the date of each day on wliich there was no death, public events 
 were recorded, or such occurrences as affected their order, their monastery, 
 or their churches. For instance, in the obituary, No. 5949, p. 194, an 
 earthquake is mentioned; and in p. 188, an historical fact connected 
 with their monastery. 
 
 9. Alphabet of minor cursive, used in a beautiful manuscript of the 
 twelfth or thirteenth century, belonging to the Barberini library, No. 
 3629, with the so-called five Beneventine letters, a, c, e, r, t. 
 
 PLATE LXIX. 
 
 PAINTINGS FROM A CHRONICLE OF THE MONASTERY OF SAN VINCENZO ON THE VOLTURNO; 
 A LATIN MANUSCRIPT OF THE TWELFTH CENTURY. 
 
 This chronicle is written on parchment, and belongs to the 
 Barberini library, No. 3577. Muratori, in his “Rerum.Ital. 
 Script.,” vol. i., p. 321, mentions this manuscript under the 
 following title:—“Chronicon Vultumense auctore Joanne eius- 
 dem ccenobii monaco, ab anno circiter 703 ad 1071.” He says 
 that this chronicle has all the defects of the writings of that 
 period, such as errors in chronology, and narratives of very 
 doubtful truth, with matters connected with the possessions of 
 the monastery, of very little interest except to the monks ; but 
 he adds, from the want of materials for the history of Italy 
 during the eighth, ninth, and tenth centuries, such particulars 
 as can be gathered of the dukedom of Benevento and the king¬ 
 dom of Naples from this chronicle must be highly prized. In 
 fact, this manuscript has been made use of by Ughelli in his 
 “ Italia sacra," vol. vi. ; by Camillo Peregrini, in his “ Historia 
 principum Longobardorum ;" and by Bernardo Campelli, in his 
 “ Historia Spoletana.” There is no doubt of its belonging to the 
 twelfth century, as it was presented by the author to Pope Pas- 
 chalis II. in 1108, and although perhaps not completed, it must 
 have been commenced at that time. The subject on this plate 
 represents this event. The pope answers in the following 
 words :— 
 
 (Quob bcnc ctrpipti, mcliup tu pctficc fili. 
 
 In the prologue the author calls upon God, for his assistance, in 
 the following verse, which will give an idea of his style :— 
 
 Dur biabemn, bccup, lur, bia, hi ta Dmjt, 
 
 Kcr Dcur cjrcclpup, mitip, pins ct metuenbup, 
 
 2Ec prrtor, croro, ticnctiico, pemper aboro ; 
 
 ;f£lp£tita quo temam mtibam conccbc lurcrnani. 
 Jprintipiumquc iiDri tua bcrtcra pit quoque Snip, 
 ifle miperanp misent miperum miperntor ab alto. 
 
 The Monastery of San Vincenzo on the Voltumo, was founded 
 in the eighth century, at which time most of the Lombards had 
 abjured heathenism and Arianism, and founded or re-erected 
 monasteries. The one here mentioned was burnt by the Saracens 
 in 881, and all the monks put to death; it was rebuilt thirty 
 years afterwards. This plate contains various specimens of the 
 written character of this manuscript, all in the style of the 
 Lombards. 
 
 Muratori, in his edition of this chronicle, subjoins five 
 engravings copied from woodcuts, intended for another edition. 
 The Canon Moroni, librarian of the Barberini library, about the 
 year 1650, says in a note upon these woodcuts, p. 873, “ Queste 
 
 figure fru-uro fatti intagliare dal P. Carlo Borelli, per inserirle a 
 ; suoi luoghi, nella cronica di San Vincenzo Volturno, che volea 
 fare stampare ; ma fii impedito dalla morte che successe in 
 j Napoli, e credo di peste.” 
 
 The subjects on this plate have been chosen to show the 
 state of degradation which art had reached at this period among 
 the Latins, as plates lx. and lxi. among the Greeks. The figures 
 of the two larger subjects on this plate are traced from the 
 originals, and relate to the presentation of manuscripts. 
 
 The first of these presentations is the one mentioned above 
 to Pope Paschalis II., with the following inscription :— 
 
 IPaptor Ipaprijalip, prubenp, piup atquc punbip. 
 
 The other appears to refer to S. Vincenzo, titular saint of this 
 monastery, from the following prayer:— 
 
 iflagne Ipatct palbc, mca catmina pupcipc blanbc 
 Cuquc ptplum porta, mala pdlctip, proppera monptra 
 ©aubia, perpetuip tribuenp cum pace biebup, 
 
 Cu bccup omne tuip paptor amanbe nimip. 
 
 ■When the author addresses Benedict, abbot of the monastery, 
 he says:— 
 
 JTriicipsimo patrt, ct bcncranbo abbati, mcritip ct nomine 
 Bcncbicto, Slofjanncp, licet inbignup, gratia Dei bictup bepter 
 in rcligionc filiup. 
 
 Under the dead body at the feet of St Benedict, are the following 
 words, the meaning of which it is rather difficult to understand :— 
 Datianup fjomo propjjanup. Under the painting we give an 
 alphabet of the character used in this manuscript, and on one side 
 twenty-nine small subjects, containing very peculiar capital letters, 
 with busts of abbots and princes ; and on the other twenty-nine, 
 also with busts of abbots and princes ; besides wliich, there are 
 monograms and initials which were used in those barbarous 
 times instead of signatures, at the bottom of public acts. Those 
 of the pope mean “Bene valete.” The small numbers indicate the 
 page of the manuscript from which the subjects are taken; 
 among the thirty-six subjects which occupy the lower part of the 
 plate, fourteen relate to the birth, the calling, and the travels of 
 the three founders of this monastery. The course of events is 
 tolerably clearly expressed, and gives some information of the 
 manners and customs of that period. According to the report of 
 the Abbot Autpertus, who lived in the eighth century, the foun- 
 

afttëcmflîtoftaittgus 
 
 Xiüamai. acracmmaaronjt 
 
 nigântravu gitj 
 
 çj) ipcdin dcn faiftîmiufëtefiits otncri- 
 Sir n bifitoiwi&ricwccauoiccn: uav 
 
 h| ^urlis dares4p^ro îognui^pircî. 
 
 «hate caJBe.'Tcriptamtiat^HnS* 
 
 fniiinfi QucûuDaryuo'iacnf ibojat, 
 tgpiSur Acqpiastestibtîgh tids- 
 
 *//////>■ ri >.WW ~A' /// . ‘ J / <///, /,/ , <('/// 
 
 ///>///, • 
 
 
 X> q 
 
 Cil os 
 
PLATE LXIX.— (Continued.) 
 
 ders of this monastery, Paldus, Tasus, and Tatus, were the sons 
 of two brothers, of a noble Beneventine family. Autpertus wrote 
 a history of their lives, of which the author of the chronicle 
 makes considerable use. They went there to separate themselves 
 from the world, and to seek a place of refuge where they could 
 follow a life of contemplation. They first travel on horseback, 
 as seen by the paintings, but soon leave then- followers and 
 horses, and change their dresses with some pilgrims whom they 
 meet :— J 
 
 Jftuntmjï ab (ma, mit m#er# ab tartora bum, 
 ifflutenu# bcgte.b. 
 
 (Pamtmg on leaf 32 of the manuscript.) As they approach 
 Rome they enter a monastery on Mount Sabina, where they 
 receive the usual rites of hospitality, (leaf 33.) The worthy 
 prior prays for their heavenly guidance, (leaf 34.) Their parents, 
 who have followed them on their journey, find them in the 
 monastery, and try to persuade them to return, (leaf 35.) They 
 however refuse, wishing to follow the admonition of the abbot, 
 who prophesied that they would find an altar consecrated to San 
 Vincenzo on the banks of the Volturno. This scene is repre¬ 
 sented on leaf 35, with the following verses :— 
 
 0<# pater ire monct, ïoea mons'trnt perbia null#, 
 arboribi# mult#, qttæ cornant ffumina pulcfjr# 
 iflontibi#, ct bent# nibitu# sunt frigiba ma#t#. 
 
 They obey the admonition, and proceed on their road, (leaf 36.) 
 Arrived at their destination, they lie down like Jacob, lapibibl# 
 capitibl# support# ; during their sleep an angel appears to 
 them, (leaf 37.) The three wanderers found the monastery, and 
 are soon surrounded by proselytes, (leaf 37.) Paldus becomes 
 the first superior of the monastery, (leaf 38.) He dies after a 
 reign of seventeen years, and angels bear his soul to Heaven, 
 (leaf 38.) Tasus succeeds him, (leaf 39.) A mutiny among the 
 monks on this occasion meets with heavenly displeasure, and is 
 
 punished by the sudden death of several of their number, 
 (leaf 39.) Finally, Tatus succeeds his brother Tasus, (leaf 40.) 
 After these paintings, which give a continuous history, others 
 follow, which show us, with insupportable monotony, emperors 
 kmgs, and dukes, presenting title-deeds of lands, houses, and 
 vassals, to the monks. The documents relating to the-possessions 
 of the monks are generally called “ Præceptum” by the author, 
 to which he adds notes, on the land, the buildings, the culture,’ 
 and products, investitures, the transmission of the glebe, animals’ 
 and vassals of both sexes belonging to the estates. We find 
 moreover some light thrown upon the relative changes which 
 the inhabitants of these countries underwent during these centu¬ 
 ries ; when either the Lombardie generations became extin¬ 
 guished or were mixed with the Latin families, we see their 
 name and denomination of the place and objects successively 
 differing in the gross idiom of these documents. These denomi¬ 
 nations, first Lombardie, then less barbarous, take insensibly 
 terminations more nearly approaching the Latin, and little by 
 little become Italian, furnishing abundant harvest for glossaries, 
 like that of Ducange ; we may enrich them with an infinity of 
 words, such as these :—Baeca, caballi , bicturia, bezzaria, tor ones, 
 curtis, angaria, pantanum, pelia de terrd arbustatd, terras, casa, 
 zappare, casta/deus. 
 
 During the eighth and ninth centuries, most of the men's 
 names ended in u—Restublu, Brictolu, Tendelapu ; we also 
 find the following names . Madeljrid , Guurnefrid, Sculptulphus 
 
 Seul dais, Warno, Mariphis, Curapelle, Rodelgald, Gualper, 
 Tenpi, Sikenolphi Ersemari cum Jilio suo, quern rendidit Manda. 
 Tribunus de Curapelle cum filiis meis. Pertulu et Justinu 
 Marazo la et Bibulu concedimus personas nostras. Most of the 
 female names end in a—ZmiUa humilis anciUa, Tarseconda 
 Scaniperga, Pota. In the ninth and tenth centuries we find 
 the following names for men Berengarius, Oderisus, Lan- 
 dulphus, Donellus, Lando ; and for women, Capraniza, Feronia 
 Rubeta, &c. 
 
 PLATE LXX. 
 
 FRENCH PAINTINGS IN A LATIN MANUSCRIPT OF THE THIRTEENTH CENTURY 
 
 L Title-page of a Latin manuscript in the library of the 
 Vatican, No. 3839 ; this painting was executed in France in 
 the thirteenth century, and is given here from a tracing of the 
 original. It does not require a detailed account, as we see from 
 the inscription near the figures that the manuscript contains 
 a short pictorial history, and was presented to Yves, abbot of the 
 celebrated Monastery of Cluny at that period. 
 
 2. Alphabet of the capital letters used in the manuscript. 
 
 3. Twelve paintings from the same manuscript given in 
 small size; the dedication gives further information upon the 
 subjects and date of the manuscript. It runs thus 
 
 3b bompnuni gboneni be ©luniaco abbateni ; incipit abbre; 
 biatio figurai# ï)#toriæ, rbita ab actorc, qui illam ©regurio 
 bttinio nunc in papatu pebente ccrnintr roi#crip.s##c ab 
 origine .scilicet niunbi usque ab primurn annum pontifical# 
 jsui, qui fuit annus mcrirru, ab Encarnatione 3D out (lit aunt# 
 bero regimtn# prefati bompni ÿïbon# abbat# ©Itmiaeci## 
 cctnobium nunc regent# rb. 
 
 In the “ Bibliotheca Cluniacensis ” of Marner, published in 
 Paris, 1614, he has planted a chronicle of the Monastery of 
 
 Cluny, executed by Pere François de Rive, grandmaster, by the 
 command of the Abbot Jacques d’Amboise II., about the year 
 1485. After having praised the Abbot Yves, the author gives 
 a list of the presents made by liim to the Church of Cluny, 
 among which are costly stuffs, a statue of the Virgin in gold 
 set with precious stones, weighing twenty-six marks, and another 
 of silver gilt. He also enumerates the buildings and their state 
 of preservation, and at last says,— 
 
 IPrtCccpit ctiani biefi# Jdbo bon® incniori® ct per litter# 
 bin# patentes? confirmatif, qttob, in bic anmbcrSarii sui, con; 
 benti# fjabcat bupliccm pictantiani p#cium. 
 
 The author, whose name is not given, has written some verses 
 in praise of the dignitaries of the monastery and of his order • 
 the account of their succession might give useful historical 
 information. The manuscript consists of thirty-four leaves of 
 fine parchment, twelve inches high, and eight wide. Gold, 
 raised and burnished, is often employed for entire lines and for 
 the initial and capital letters ; these last, as seen in No. 2, are sur¬ 
 rounded by delicate flourishes. For the -writing, black, red, and 
 blue ink are all used, and the abbreviations are very numerous. 
 
PLATE LXXI. 
 
 PAINTINGS FROM VARIOUS FRENCH MANUSCRIPTS, FROM THE ELEVENTH TO THE END OF THE 
 THIRTEENTH CENTURY. 
 
 1. Five paintings of battles, tournaments, &c., from a manu¬ 
 script in the library of the Vatican, No. 375, -which originally 
 belonged to the Dukes of Urbino ; it has their arms and device, 
 and is written on very thick parchment, eleven inches high and 
 eight wide, one hundred and seventeen leaves, and fifty pictures. 
 The writing is in two columns, containing forty-eight to fifty 
 verses, except those in which are the paintings, which occupy 
 eight or nine lines. The form of the cursive alphabet is given 
 at No. 2 ; the great number of abbreviations make it difficult to 
 read. The first letter of each line is a capital, but always 
 separated from the other letters of the word. Each chapter 
 commences with a letter called in French “ Toumeures they 
 are very large, and ornamented with figures and foliage, enriched 
 with gold, as the D given in No. 1. Verses of ten feet are 
 divided into two lines, as may be read on the leaf 39 : 
 
 © c fu en map q la ro£c 
 c0t floric, 
 
 © uc I’erbc naist 
 
 abaï la prairie 
 C cl ropinol pmii eel 
 boi.b p’cperic, 
 
 © uiber est mort 
 
 froitmre cn£cbclic. 
 
 This tale or historical poem treats of campaigns in Flanders, 
 Artois, and Picardy ; the ancient dialect, as well as the ancient 
 dialects of these places, are alternately employed. Verse 8 
 on page 83 is in the dialect of Picardy, probably the birth-place 
 of the author. It commences thus :— 
 
 g> i qmc ïi IcujJ fet fuir leg brebip. 
 
 And further on, on leaf 91, col. 2 : 
 
 L pccusf JTracoid, lcd Picard, ct led ftid 
 © outre joutai c redoud ou larid- 
 
 Several heroes of different periods are mentioned, one of the 
 most celebrated of whom was Baldwin : 
 
 L i qnd be JTIanbrc Eauboin, 
 
 Or Li quens, or Count Baldwin of Flanders. The most 
 celebrated and last of his name was Baldwin IX., who was 
 count of Flanders in 1194, and became first Latin emperor 
 of Constantinople. There is no other date to be found, and 
 some of the first and latter pages are missing ; the probability 
 is, therefore, that this manuscript was executed about the end of 
 the twelfth century. In evidence of this conjecture, we give 
 specimens of writing from two other manuscripts of this period 
 under Nos. 3 and 4. 
 
 2. Alphabet used in the manuscript No. 375. 
 
 3. Alphabet of capital letters, from a manuscript in the 
 library of the Vatican, No. 455, which originally belonged to 
 Queen Christina. 
 
 4. Some writing from a manuscript in the library of the 
 Vatican, No. 3209, dated 1195. 
 
 5. Three paintings from a manuscript in the library of the 
 Vatican, No. 3209, containing the romance of Alexander. It is 
 on thick parchment, one hundred and forty-eight leaves, nine 
 inches high, six wide, and beautiful margins. The inscription near 
 the painting gives a specimen of the ornamented capital letters 
 used in the manuscript ; it contains nineteen paintings. There 
 are some full stops, but rarely commas; a mark is over the J, to 
 express the unit. The J consonant is found and many singular 
 abbreviations. 
 
 6. Capital letters used in the manuscript, No. 5895, in the 
 library of the Vatican. 
 
 7. Numerals from a manuscript, No. 480, in the library of 
 the Vatican, left by Queen Christina; it contains a likeness of 
 the Archbishop of Sens, but is without other paintings; and the 
 date given at the end is 1290. It is considered that the great 
 resemblance of the writing in this manuscript to that in No. 
 5895, fixes the date of the latter almost with certainty at the 
 same period. 
 
 8. One of the eighty-six paintings of the manuscript, No. 
 5895, it contains both sacred and profane histories, written in 
 French prose, the writing at the side gives an explanation of this 
 subject; the manuscript does not contain any precise date, but 
 the form of the weapons, the colours on the escutcheons, and 
 above all the similarity of the character of the -writing with the 
 manuscript dated 1290, fix its date at the same period. The 
 following verse is given on account of the naïveté of its style; 
 
 Li roifi fu trea muct be ïjonte et be pabut 
 ©c tcjïponbrc essbafjit c be taire Ijontoua 
 plug bcrmoillc bebiut que rose be rogicr. 
 
 We find the frequent use of those descriptive details, which 
 amongst all nations, ancient and modern, characterize the earliest 
 poetry, found even in Homer. 
 
 ©chant un bicil murcl be picrc ct be eroion 
 
 ê'oj i tapig be soie a outrage goutig 
 
 §>on fjeaume ct ton blazon ct gon epee tranchant. 
 
 Further on we have an enumeration, almost individual, of 
 the different bodies of the troops, such as an inspector would 
 make on the contrôle of a review. Both the names and surnames 
 of the chiefs are given, such as 
 
 96auboin le gentil cfjcbalicr, Sncelme le guerrier, Succinic 
 le gris?, <£. Bcngicr, picron b’Srtoig, Eancc le tort, l])crbcl 
 au lionccl, laorbclc la rietje. 
 
 (Bordeaux la riche, &c.) 
 
 Finally, prayers, imprecations, and blasphemies: ©icil 1c 
 roi be parabig — JTilg be Put — ©acte maubie, &c. So true 
 it is that the arts and letters can receive their polish but from 
 progressive civilization. 
 
Tav.LXXI. 
 
 .gjigmomncfier o eft GntitePiv 
 
 (ëCcytiFib fît |i t)x œl Aferc ?6nrcrô6|!efb(^ 
 
 o^hms fu fitnalmS?baftis 
 Ctefter ploUnr 33 l ui fyhuat* toj lefpiiepUfdas 
 
 jodVdlauew. itiig i) Cciw- ■fi-a'ooiê' ïcah^ ~îcf ■fri£ 
 
 Jjrrcmcl- redrew 2 Jef nozmausfwtticis©' jeSwSflciatS 
 
 ^Sdgemr tfefomaf 2 îitomoi paarmo -pile ^ 
 
 <£«ïlcf ftenetir C ntna gomâî ~ rcibus-^i Ians’ ^ ^ 
 
 Xcf ûTpis atilt" mu?" C" i 1W-fef £dmc0^Ief«tttiiC94dc§r > ' <j> ' 
 
 Ca «} dfcincü <j our cfe oc?» enldîütalk- “ 
 
 •Sailli» ticftipafp» 
 
 (T toetf OAvmer- ftvu A\n> 
 
 bâmef ont* ^»anicu lcHoZT»îcnicr % 
 "îD%oitStr^auiicn 5 pziflrcac drcpua-’ 
 •p 1 üuitoîre buqîTr oAoi/plemcr 
 fi icucnr afefttc I cC Pâmes on mo(£ 
 
 & nPlaiibic« itonc bamee-s Kent/ 5 
 
 ig 
 
 L iiouAgefiirtoqvce 
 
 fSSef ceqimli}» C>trtàs-ffu'conqute> 
 
 ^httoxxieTjice «inc&ncmoM/i? 
 ffisjiafmrtm !ï snmeua Jan« 
 CJeuancictthMirjRovrlKf'fâairïBte 
 ^carfuitsajii la l&memicta/l’i# 
 4*rtnW(3eqmfo\»tr2anioirl«Ict«?pjiiJ 
 i 1 |(f nfcndwma trend ferme {cnumbjafcie 
 
 i H-23. ncnode ona flf nt&cmarrf? is _ 
 
 iinoSiB çS <x- nonagio gHlhoia 7 
 
 MS.Wo.f. ’ 
 
 (tleurmouftreœut 
 tourdba# ttmrcf | 
 wtrfafcur menbteC 
 (îlcurocmauttfcnt 
 omtftiaæm-agate 
 tncafétlitoloiiiit 
 maæeauicroi but* 
 ucntrrTc«£ h>:ctir 
 iltnl'rgoïc Ijouteç 
 (autos' rctoaierctir 
 «meitÿailafedctaiï 
 Wcmtfcffoaaenri 
 il mnigoioit (fit leur 
 anciinfareffcrctir 
 
 •>■;/■■ ./,* manMoMy:,„.w/, </#/,\7 yf/ut ,/c/xM t 6a y.< 
 
J'lff. 
 
 Tar. LXXll. 
 
 A'bgÿcfè fill m n o p q i a %fr '■ XS 5 è) &f <Xt)l1~<vjlO-P(X RST'D V S' 
 
 SÏçfiefo Into ham Hi 
 
 yJ\ dpLw 'Oruerii oamirp;r 
 awn» caiiflimo. 
 
 ‘ jitjvlaaspnri(Bo 
 
 lie tutUIÙX» (hcnenp. et tcltatcncus'. 
 Cilimnii /t-lmost sfetsif afehi- 
 
 ^ncabilipiatJttnîo ous 
 (iiigcnratta culm Jorasan , 
 
 __^tcafir.iiriknrnCTi8.QM 
 ^ arer 'k^u’îjoUiia'InMirt+^iiÆkr 
 tite isjits ctim tu&itt (Etais*» ■ 
 
 ‘,/-//.■ </t • ' >f/*r)i,a*yî//.' /,////*. . X/// -// A/l 
 
 
 
PLATE LXXII. 
 
 PAINTINGS FROM THF TRAGEDIES OF SENECA; A EATIN MANUSCRIPT OF THE THIRTEENTH 
 AND FOURTEENTH CENTURIES. 
 
 1. This painting is from the Latin manuscript, No. 355, in 
 the library of the Vatican; it was left by the Duke of Urbino, 
 and contains the tragedies of Seneca, with a commentary. This 
 painting is traced from the original; the figures are"arranged in 
 a semicircle, in one part of which are the actors, and in the other, 
 the chorus. The poet himself sits in the middle, and appeals to 
 be officiating as prompter; the spectators are arranged at the 
 two comers. 
 
 2. The signs of the zodiac and constellations, painted on the 
 sixth page of the manuscript ; the ground is sky-blue, the figures 
 black, the stars gold, and the frame red or green : on the second 
 page there is a sort of celestial globe. 
 
 3. Alphabet of capital letters (Tomtom) used in the 
 manuscript ; they are coloured on a gold ground, and some are 
 ornamented with small figures. 
 
 4. Alphabet of the character used for the text of the manu¬ 
 script, also for the notes and corrections interspersed among the 
 verses. 
 
 5. Alphabet of Gothic letters used at the commencement of 
 verses, and for proper names. 
 
 6. Dedication of the writer of this manuscript, Dominican 
 Nicholas Trevetti, to Nicholas, bishop of Ostia and Velletri, 
 serving as a specimen of the character used in this manu- 
 script. 
 
 7. Answer of the Bishop of Ostia to the writer of the manu¬ 
 script; also serving as a specimen of the character. 
 
 8. Capital letters not coloured, with grotesque figures and 
 ornaments, some of which extend nearly across the page. The 
 whole of these specimens are traced from the originals with the I 
 
 greatest care; they contain four distinct written characters. The 
 Style of the large figures in No. 3, the constellations in No. 2, 
 the figures forming part of the letters in No. 8. the three alpha¬ 
 bets, and the barbaric character of the whole manuscript 
 make it probable that the author was not a native of Italy.’ 
 The Padre Trombelli, in his “Dell' Arte di conoscere l'eti de' 
 eodici Lath,! ed Italian!;" Bologna, 1756,4to„ mentions that the 
 ultra-montane nations, in the fourteenth century, generally 
 decorated their manuscripts with paintings, some of which, 
 according to his description, were very similar in style to the one 
 here given. In 1779, Trombelli showed Agincourt a manu- 
 sertpt of Seneca, decorated with paintings of the same kind; it 
 is probable that an artist from one of these ultra-montane schools 
 copied the paintings from some more ancient originals for the 
 author of the commentaries on the tragedies of Seneca. This 
 author was Nicholas Trevetti, an English Dominican, who pre¬ 
 sented his work to Nicholas, bishop of Ostia and Velletri, and in 
 return received Ins grateful acknowledgments, (see No. 7.) It 
 cannot be ascertained with certainty to which Bishop of Ostia 
 and Velletri Trevetti dedicated his commentaries, as there were 
 two of the name of Nicholas, and both belonged to the order of 
 Dominicans, one of whom lived at the end of the thirteenth 
 century, and the other at the beginning of the fourteenth. The 
 first, whose name was Nicholas Boccasini, of Treviso, was raised 
 to the papal chair in 1303, and took the name of Benedict X. 
 or XI. He was celebrated for his virtues, also for his religious 
 writings, and was canonized after death. The other, Nicholas 
 Martini, of Prato in Tuscany, was made a cardinal by Boniface 
 VIII., and died at Avignon in 1321. 
 
 Paint i no S 
 
PLATE LXXIII. 
 
 PAINTINGS FROM A TREATISE ON FALCONRY BY THE EMPEROR FREDERICK II.: A LATIN MANUSCRIPT OF THE 
 
 THIRTEENTH CENTURY. 
 
 FIRST SIGNS OF THE REVIVAL OF THE ART OF THIS KIND OF PAINTING IN ITALY. 
 
 1. Seated figure of the Emperor Frederick IL, author of the treatise 
 on falconry which is the subject of this plate. Ducange in his 
 “ Glossarium" giveB a copy of this figure as a specimen of the imperial 
 dress; he describes it thus: “Icon ejusdem imperatoris sedeutis, cum 
 paludamento togæ superinjecto, dextra sceptrum liliatum tenentis; 
 super togam vero pendet a collo fascia latior gemmis et lapillis distincta 
 ad pedes, quæ baltheo quodam, ejusdem ferme latitudinis, circa pectus 
 constringitur, quern fasciara pectoralem, seu 2m9oSeu/xov, possumus 
 appellare, ut est in veteribus glossis.” 
 
 2. An attendant, in the dress of a falconer, is presenting a hawk to 
 his prince, with a hood (capellum) drawn over its head. 
 
 3. Hawking on the water. 
 
 4. Title of the work, as a specimen of the character used in the 
 manuscript. 
 
 5. Complete alphabet of the letters used in the manuscript. 
 
 6. 7. Paintings representing four-footed animals and birds of prey, 
 traced from the original. 
 
 7-26. Subjects given in small size, relating to the feeding, the 
 teaching, and the use of falcons for the chase. The inscriptions under¬ 
 neath sufficiently explain them, and at the same time furnish a specimen 
 of the cursive character. It is known that the ancients made great use 
 of dogs in hunting, and took the greatest care of them : they even 
 desired that they should be honoured by their gods. 
 
 Ipsa coronat 
 
 Emeritos Diana canes. 
 
 Statics. 
 
 It does not appear, however, as if the Greeks and Romans used birds 
 of prey for the chase, and much less the Egyptians, who rendered divine 
 honours to them; the Etrurians used them as they did other birds, for 
 signs of good or bad omen, and it is conjectured that they also used them 
 for the chase, from the figure of a youth holding a hawk having been 
 found on an Etruscan vase, given by Caylus in his “Recueil d' Antiquités, 
 vol. ii., p. 82, pi. xxvi., No. 3. Among the barbarous tribes to the 
 north and east of Asia, it was the custom to use birds of prey in the 
 chase. Aristotle mentions this custom as common among the inhabitants 
 of Thrace. Scythia possessed several kiuds of birds of prey, which were of 
 great service to the natives in their extensive pasture lands. The Tartars, 
 who followed the Scythians, were great lovers of hawking, and those who 
 conquered China, either introduced the sport or already found it estab¬ 
 lished there. Many of the portraits of great personages in China are 
 represented with birds of prey on their wrists. The most noble of these 
 birds, the falcon, is always represented in Indian manuscripts sitting on 
 a golden perch. Hawking was first introduced into India by the 
 Mohammedan conquerors. It is probable that the ancient inhabitants 
 of the northern part of Asia first introduced this sport into Europe. 
 Julius Firinicus, who lived in the fourth century, is the first historian 
 who mentions these birds of chase, and their attendants. The barbarians, 
 who had constantly disturbed the frontiers of Italy, and who at last in 
 the fifth century overran the country, and settled there, were very fond 
 of hawking. From the sixth century this sport became so universal, that 
 the Lombard laws prohibited the payment of ransoms by sword or by 
 bird. At a later period this sport was only permitted to the nobles, 
 or sometimes to the freemen. In an ordinance, A.D. 769, Charlemagne 
 entirely forbad it to serfs. Among the household of this prince a great 
 number of falconers are mentioned, and at the Greek court, at Constanti¬ 
 nople, the office of Grand Falconer was one of importance. Both in the 
 East and West this sport was universal among nobles and crowned heads, 
 ns we find from the paintings and other works of art of that penod. 
 (Ducange, Glossarium sub voce Falco.) Among the French nation this | 
 
 sport is described as having soon become a passion. Montfaucon speaks 
 of it in his general French history ; and we soon find princes, warriors, 
 nobles, and even ladies, represented holding falcons, or at least with a 
 glove made for the purpose of carrying these birds. In the thirteenth 
 century Philip the Bold bestowed the title of Grand Falconer, with many 
 privileges attached to it. The falcons of the kings of France were 
 generally presents received from the northern kings. The first work on 
 this art in France was written in the thirteenth century, and bears the 
 following title “ Livre du Roi Modus et de la Reine Ratio, traitant 
 des déduits, plaisirs, manières et façon de l’exercice de Vennerie et Faul- 
 connerio." These two allegorical personages form the subject of a 
 poem, published at Chambéry in 1486, under the following title — 
 
 “ Le livre du Roi Modus et de la Reine Racio, lequel fait mencion, 
 comment se doit deviser de toutes manières de chasses.” The 
 king imparts rules for the sport, from wliich the queen draws moral 
 conclusions, often singularly applied. Among the learned notes on 
 the manuscripts in the library of the Nani family at Venice, there 
 is a poem mentioned by Dendes de Prades in the thirteenth century, 
 with an account of the birds fit for hawking. In the fourteenth century 
 a romance was written on the art of hawking; but much more celebrated 
 and well-known is the poem by Gasse de la Bigne, a noble ecclesiastic 
 of Normandy, first chaplain to King John, by whose order the work was 
 written, during his imprisonment in England, for the instruction of his 
 young son the Duke of Burgundy. The author describes hunting as 
 well as hawking, with the technical terms belonging to each: the account 
 is clothed in talcs and poetry. It appears as if ecclesiastics claimed the 
 prerogative of their rank with regard to this sport. Pope Gregory IX. 
 retained falconers for his own use. Gaston Phœbus de Foix, count of 
 Béarn, distinguished himself in the fourteenth century by his love of 
 the chase, and by a learned treatise on the subject. This prince kept 
 a pack of from fourteen hundred to sixteen hundred hounds. Accord¬ 
 ing to Froissart, Edward III. of England, in his progress through 
 France in 1359, was attended by thirty falconers on horseback, with 
 an immense number of birds. In the meantime, this luxury was carried 
 to a much greater extent in the East than in the West. Bajazet I. 
 had seven thousand falconers and as many huntsmen; King Charles VI. 
 of France sent him hawks and falcons, also gloves set with gold and 
 precious stones for carrying the birds. (Mémoires de Ste Palaye sur la 
 Chevaliere, vol. iii.) A book was published in Paris in 1625 by 
 Nicolas Rousset, called “La chasse royale, composé par le Roi Charles 
 IX.,” which is attributed to this king. Some regulations were made on 
 this subject in the tenth century by the Emperor Otho III. Among 
 Otho’s successors, the German emperors and kings of Italy, Frederick 
 II. was the most remarkable. This prince was so fond of hawking that 
 he studied the art, and himself wrote books for its improvement. The 
 two first subjects under Nos. 1 and 2, and the title in No. 4 of this 
 plate, relate to the author, and the subjects in the work; the latter are 
 better described thus in the first page : 
 
 Sntentfo hero nostra tst manifestait in floe lifaro tie benatfone abiurn, 
 tafiut sunt «(cut sunt, tt an artfs ctttituùlmnt rttljtr,, quotum nullus 
 
 jabuit scientiam taelenus, ntqut sortent, tie.«lot 
 
 est bir (nquisftot et experientit amatot tubus aupstus JfreSerlcus 
 steunbus, Homanotum Impetator, gerusalent et Saillie Ken. Milas 
 tst magna. 
 
 The art of hawking is very fully described, and commentaries are added 
 by Manfred, king of Naples, son of Frederick II. : the part, added by 
 Mm arc marked by the word EtX in capital letters. The noble 
 author proves great knowledge of nature and of the habits of birds i he 
 
Tav.zxmt: 
 
 m ftUfti Jrctcna. fc c untnaomanoiiuntmga a b Cfc C F$ b llmn0 P4 VI fSttiXy 
 
 ’ r au Cum ni rapacef 
 
 ma ptacg 
 
 gs cu pedib3l capiunt lepits 
 
 W^iîg S [teruan füc fâctpng &tcoiiuntlarcaitgt- cq( 
 
 ntbuitv | 
 
 fup fedcm 
 
 it equitc cjuafts cffc fccbcar 
 
 teremofits contra mquicmtoucs I ^e&pello | linpftno Gipcl mdpinbj Êüco 
 
 
 
 
 tiuiiiirauiu autc tos pnanr i oua gaUmaji r^naupunr ca* i amt turning y alia, tone mambi uclatts 
 
 
 
 fTfft 
 
 ucacas tti 
 
 tvbus i -&! loiiicttc» |<b;m tcii.inai 
 
 1 uimalcofo sciat natatt 
 
 i 'Dcsrdilibus 
 
 '////////Myy ,// , 
 
 tt'atôrfa ,// ,'V-vw^k ,/f ■■tsi/f/'itV’ JT; m<7n0</c/Ù/û faftno 
 
 t /r-/ > ! t/{,?</,<// yttsSfrjr.ns/is. ,//'.-'V/fu/,? /// 
 
 'yÿPa/ ivïjti 
 
 ,/('/ XfiT {j/sco/f> . 
 
 l'fa/f*. 
 
jpimia-mujebut/cnwe mi'nuuU efîiTS lXTrtvr fir nctostpl fitnnS 
 
 i-rplmt- liter tcast&idw toam auci 
 
 I# fencoc- Saipm^-p maim* pcm tbcow 
 tuci'Oc -ruirufecga Civnrarc- cUru o Bin 
 II .« »' co<’.lmt7"~)n mçitia »« fetfreune 
 
 lt’C5efjI)i ( m no p <11*5 { u jey ît 
 
 > ÆForwnâUs Æ 
 fi/g- g mVfMfi m cgj 
 Ylomr ti nrliciuy if 
 Wc-icpcî aiicml- v ; 
 
 j aun acttpkv 
 i ruun uipua ' •;• 
 .o àftruï ctmiS' 
 
 Rt Oi 
 H ril 
 i S; 
 
 O Qi 
 
PLATE LXXIII.— (Continued.) 
 
 •bo treat, of the animal, de, lined to be their prey. He divide, them 
 mto three elas.ee: the first, the., who five on lamli the seeond, those 
 who live n, the water; and the third, those who are amphibion.; with 
 the times at which they migrate from one country to another. In a 
 catalogue of the manuscripts in the Nani library in Venice, there are two 
 work, mentioned, one in Persian and the other in Arabic, both of which 
 treat of birds used for hunting, and of those hunted. The learned author 
 of this catalogue i, of opinion that these two manuscripts were first 
 translated into Latin by the philosopher Theodoras, who was physician 
 to the Emperor Frederick IL; and secondly, from the Latin into 
 French by Daniel of Cremona, a Frenchman by birth, for Henry, king 
 of Sardinia, son of the Emperor Frederick II. The orioinal is by 
 •n Arabian f.leoncr of the name of Moamoin, or Moam, and the tr.n.la- 
 tion was corrected by the Emperor Frederick himself. This Arabian 
 treatise i, a further proof that this sport originated in Asia. There 
 is also a manuscript in the library of the Vatican, No. 1254, left by 
 Queen Christina of Sweden, containing a treati.e on the art of falconry, 
 by a French knight of Malta, compiled from treatise, by three celebrated 
 falconers, one of whom was a brother of the King of Cypru,, another 
 
 wa, in the service of the Sultan, and the third served the Grand Master 
 of Rhodes. This manuscript is without paintings, but written on fine 
 white, strong paper ; and on it we read the following : » Alexander Pauli 
 films Petavius, Senator Parisien»!, i„ 1649." A great part of the manu¬ 
 script. left by Queen Christina were from French libraries. In the 
 library of Minerva at Rome, there i. a printed book with the following 
 title .---Reliqua libtnrum Frederioi II. imperat. de arte venandi cum 
 avibus, cum Manfredi regia addition»™,, ex membranis vetustisnunc pri- 
 mum édita. Albertus Magnus de falconibus asturibus et accipitribus in 
 8vo. Augustas Vindolicorum, apud Joannem Praetorium ad insigne Pinus, 
 1596. Tiraboschi, in his “Storiadella Letteratura Italians,” vol. iv., cap! 
 ii. ; Modena, 1788, mention, an edition of King Frederick's treatise pub¬ 
 lished at Cologne in 1596, without the name of the printer. The Abbé 
 Morelli, librarian at St. Mark in Venice, was employed to superintend 
 an edition, with all the paintings, brought out at Augsburg in 1596 by 
 Marcus Wetser. He remarked that he did not know of the existence of 
 any other copy at that time. In 1756 a German translation of the same 
 work was published, and in 1789 the text was given without the painting, 
 in the collection of Schreider of Leipzig. 
 
 PAINTINGS FROM TWO MANUSCRIPTS OF 
 
 The subjects which occupy the upper part of this plate are 
 from a manuscript in the library of the Vatican, No. 1585. It 
 contains the ten tragedies ascribed to Seneca, in ten books, as 
 follows: —1. Hercules fnrens ; 2. Thyestes ; 3. Thebais ; 
 
 4. Hippolytus; 5. (Edipus; 6. Hecuba; 7. Medea; 8. Aga¬ 
 memnon; 9. Qctavia; 10. Hercules CEteus. 
 
 1* An omame ntaI letter of gigantic proportions at the com¬ 
 mencement of the first tragedy; the foliage appended to it occu¬ 
 pies the lower part of the page, and is very elegant. 
 
 2. Epigraph at the end of the manuscript, with the date 
 and name of the author :— 
 
 Crpltrit liber traurbiorum iHnm gnri écran: écriptusS 
 p ni.imiU pttri ülirotomci he Burnbrega Curante, g, mo 
 Sill ttclriiij” Till bigtlio =u r Catherine. 
 
 3. Complete alphabet of the letters used in this manuscript. 
 
 FOURTEENTH CENTURY. 
 
 4. Nine letters from the same manuscript, ornamented with 
 figures. 
 
 5. The letter M, from the manuscript No. 1586. 
 
 6. The same letter from another manuscript in the library 
 of the Vatican, No. 366, containing the tragedies of Seneca, 
 which formerly belonged to the Dukes of Urbino. It is bound 
 in wood, covered with red calf, with the arms of Pope 
 Innocent XII. of the house of Pignatelli; the volume is of 
 fine parchment in folio. 
 
 7. A capital letter, decorated with figures, at the commence- 
 ment of the first tragedy in the manuscript No. 356. 
 
 8. Nine other capital letters, with figures relating to the 
 subjects in the tragedy. 
 
 9. Alphabet of cursive letters used in this manuscript ; all 
 the subjects on this plate are traced from the originals. 
 
 plate lxxiv. 
 
 SENECA. 
 
PLATE LX XV. 
 
 DECREES, A PONTIFICAL, AND A NEW TESTAMENT; THREE LATIN MANUSCRIPTS OF THE FOURTEENTH CENTURY. 
 
 1. The pope presiding over an assemblage of bishops, 
 doctors, theologians, and historians: this subject, which is traced 
 from the original, belongs to a manuscript in the Vatican, 
 No. 1389; it contains decrees, and has six paintings, one large 
 and five small. 
 
 2. Specimens of letters from the same manuscript ; on the 
 right those used for the text, on the left those used by the com¬ 
 mentator. Many of the letters are ornamented with flowers and 
 figures, or with a sort of arabesque in gold. 
 
 3. Pope Boniface IX. giving his blessing ; this paint¬ 
 ing, which is given here from an original tracing, is in the 
 library of the Vatican, No. 3747. This manuscript is a pon¬ 
 tifical, in large quarto, written on parchment. Were it not too 
 bold to ground such a conjecture on the tale of “ Nostrodamus, 
 we should be almost inclined to ascribe this manuscript to the 
 celebrated monk “ des Isles d’or,” who was a descendant of the 
 noble family of Cybo at Genoa. He had announced in his book 
 that there should arise great persons to govern the Catholic church, 
 a prediction easy to make at that period, since Boniface IX. 
 was then on the pontifical throne, which he occupied till 1404. 
 The monk died in 1408, so that it is possible that he might have 
 worked at this painting, as he was considered “ dans le peinture 
 et illuminure souverain et exquis.” He has left many specimens of 
 liis talent; among others, in a work of the same kn?d which was 
 executed for King Lewis of Naples, count of Provence, and for 
 his consort Iolande, further particulars of whicli are to be found 
 in the “ Bibliothèque Française de du Verdier,” vol. iii., 1773. 
 Baldinucci, “ Notizie de’ Professori del disegno,” vol. ii. ; 
 Firenze, 1767. Crescimbeni e Tiraboschi, “ Storia della Lettera- 
 tura Italiana,” vol. v., lib. iii., chap. i. ; Modena, 1788. 
 
 4. The marriage of Cana in Galilee. 
 
 5. The burial of Christ, by the "Virgin, St. John, and Joseph 
 of Arimathea ; these two paintings are from another manuscript 
 in the library of the Vatican, No. 2639, which contains subjects 
 from the New Testament. The character is the same as the 
 specimen in No. 7 ; the capital letters are of gold, ornamented 
 with figures, &c. 
 
 6. “ Nicolaus de Bononia F ;” this signature, traced from the 
 original, mentions the native town as well as the name of the 
 author. He was from Bologna ; it is the first time that we find 
 the name of Nicolas among the painters of this school. 
 
 7. A note at the end of the volume ;— 
 
 explicit qitæetio bis'putatn per bomiitum 3Ioanncm be 
 Lignano be iHcbiolano. uteiusque juris eximiitm bortorem. 
 
 3 nno Domini 1358 bic ênObati tertio bccimo ^onuarii, 
 extra cctlesiam âvincti LHamc, cibttatis" Bonontc. Deo 
 gratias amen. 
 
 John de Lignano, mentioned in this note, was the author of 
 several treatises in this manuscript, No. 2639. The titles of 
 some of them run thus :— 
 
 Dc nutitipliei nomine <£I)riSti. De eometa comprima" 
 anno 1386 xx flprilis, quo mense apparuit eometa, Deo 
 gratia.s amen. De juxta sanguinitatis. Dc bcllo i 360 
 penbente forte cxercitu contra cibitatem. Dc natura Singe; 
 lira. De censura ccclesiastica. Dc amieijia. 
 
 The remaining themes show an equal variety of subject. John 
 de Lignano was bom at Milan, where he taught canonical law, 
 and died in 1383 ; on the tomb erected for him during liis life 
 in the Dominican monastery, and adorned with sculpture by the 
 two brothers Jacobellus and Petrus Paulus of Venice, we find 
 the following inscription, which explains the sources from which 
 lie gained his information on many subjects :— 
 
 Frigida mirifici tenet hie lapis ossa Joannis. 
 
 I vit in astriferas mens generosa domos. 
 
 Gloria Lcgnani, titulo decovatus utroque, 
 
 Legilms et sacro canone dives erat. 
 
 Alter Aristoteles, Hippocras et Tolomoi 
 
 Signifer, ntque hceres, noverat astra poli. 
 
 Abstulit liunc nobis inopinie syncopa mortis. 
 
 Heu dolor ! hie mundi portus et aura jacet. 
 
 Anno mccclxxxiii., die xvi. mensis Februarii. 
 
 L. B. 
 
 Hoc opus fecerunt Jacobellus, Petrus Paulus 
 
 Fratres, Joan, Legnano Bononiœ docente. 
 
 Besides the office held by Legnano in the university, he was 
 often employed in state affairs. He went as ambassador for liis 
 fellow-citizens several times to the pope, and acquitted himself to 
 the satisfaction of both parties. He also wrote against a schism 
 in the church, which occurred during the reign of Urbino VI., 
 of which a further account can be seen in Tiraboschi’s “ Storia 
 della Letteratura Italiana,” vol. v. ; Modena, 1788, in the library 
 of the Kings of France. Argelati and the Count Giovanni 
 Fantuzzi both give a list of the works of this professor; but 
 there were some manuscripts published afterwards, of which 
 Muratori speaks with great praise. Muratori mentions two 
 things connected with this author which may be of use to the 
 history of that period, viz., his notices on astrology, and the 
 title added to his name, which was then very rare : “ doctor 
 utriusque juris et septem liberalium artium.” 
 
PLATE LXXYI. 
 
 PAINTINGS FROM THREE LATIN MANUSCRIPTS IN THE LIBRARY OF THE VATICAN. FROM THE BEGINNING 
 TO THE END OF THE FIFTEENTH CENTURY. 
 
 1. The blessing and consecration of virgins; this subject is 
 in a pontifical, a manuscript in the library of the Vatican, 
 division Ottoboniensis, No. 501. It is beautifully written on 
 very fine parchment; the character is similar to that of the 
 inscription under the painting of “Benedictio et conservatio 
 Virginum.” The manuscript contains eleven paintings, each 
 occupying a page like the one given on this plate, which is 
 traced from the original. 
 
 2. Aristotle waiting his work on natural history, with a man 
 and woman, and various animals, birds, and fish before him ; 
 this painting, which is given here in the original size, belongs 
 to a manuscript in the library of the Vatican, No. 2094, 
 containing a Latin translation of Aristotle’s work on natural 
 history. The title is written in large letters of gold, blue, red, 
 green, and black, and runs thus “ Thedori Græci Thess- 
 
 ALONICENSIS PRÆFATIO IN LIBROS DE ANIMALIBUS ArISTOTELI 
 
 philosophi ad Xystum Q. P. M.” The manuscript is in folio 
 and written on fine parchment; at the commencement of each 
 book there are highly decorated letters, and on each side of the 
 pages elegant arabesques in the same style as the one in No. 3. 
 
 3. Fragments of arabesque ornaments from the sides of the 
 manuscript. 
 
 4. A large L painted on the first page of the manuscript, 
 within which is a portrait of the author, or of the translator, 
 Theodoras of Thessalonica. 
 
 5. Portrait of Pope Sixtus IV., who reigned from 1471 to 
 1484 ; above the medallion containing the portrait, which is 
 supported by two winged figures, are the arms of this pope. 
 It is on the title-page of a Latin manuscript in the library of the 
 Vatican (No. 214), containing a translation of Origenes, with 
 the following title written in large Roman letters : — “ Incipit 
 PRÆFATIO RuFINI PRESBITERI IN LIBR. PEUIARCHON OrIGENIS 
 
 . . . .” The first page contains, under the medallion, a sort of 
 architectural composition, with bas-reliefs on the freize and 
 statues in inches. The character of the writing somewhat re¬ 
 sembles the Gothic, especially in e’s and t's. 
 
 6. Figures of Gods in bas-relief in imitation of ancient art ; 
 from the same manuscript, as are also the arms of Sixtus IV. of 
 the House of Rovere. The whole of the subjects given on this 
 plate were published for the first time in this work. 
 
 Painting T 
 
PLATE LXXVII. 
 
 MINATURES AND DRAWINGS FROM TWO MANUSCRIPTS OF DANTE. FOURTEENTH AND FIFTEENTH CENTURY. 
 
 The manuscript from which Nos. 1 and 2 are taken, belonged to the pri¬ 
 vate library of Cardinal Zelada, librarian of the Vatican. In consequence 
 of the researches of Count Battaglini, there is ground to believe that it be¬ 
 longed to a monk of the name of Domenico, of Tarentum, to whom, in 
 1384, the Anti-Pope Clement VII. gave the bishopric of Iserne, in 
 the county of Molise, kingdom of Naples. The volume is in folio, and 
 contains, in 188 leaves of parchment, the three poems of Dante, with a 
 short review of the whole, most likely by the son of the poet. From the 
 character of the writing and orthography of this manuscript, it is attri¬ 
 buted to the middle of the fourteenth century ; in addition to which we 
 see the double crown on the head of Boniface VIII. ; and in the explana¬ 
 tion to pi. cxv., it will be found that these crowns were first introduced 
 between the years 1300 and 1303. 
 
 1. This subject is from the “Inferno,” cantoxxix., v. 73. To explain 
 the poet’s meaning the artist has placed two alchy mists, sitting back to back, 
 doomed to suffer eternally from the itch. We are informed by a commen¬ 
 tator that one of these men was a native of Arezzo, and burnt as a sorcerer. 
 
 2. This drawing relates to a celebrated historical fact, which Dante, 
 who was only half understood by his cotemporaries, shadows forth with 
 the ambiguity of an oracle. The following were the principal circum¬ 
 stances:—As is well known. Pope Boniface VIII. persecuted the house 
 of Colonna most unremittingly. They were at that time very powerful 
 in the Papal territory, so that he did not know how to take the fortress 
 of Palestrina from them. He was advised by Guido, count of Monte- 
 feltro, a wily politician, as well as a brave warrior, “ di molto promettere 
 e nulla attendere.” lie, however, afterwards repented of having given 
 such advice, and joined the order of Franciscans, thus described by 
 Dante :— 
 
 J’fui uom d'arme e poi fu cordigliero, 
 
 Credendomi, si cinto fore ammenda. 
 
 Notwithstanding which, he is represented in the eighth cauldron of hell, 
 set aside for bad advisers; and Guido is relating how Boniface gave him 
 absolution to relieve the scruples of his conscience. 
 
 3. Dante, alarmed in the commencement of his wanderings, meets 
 Virgil, who becomes liis guide. This painting is on the first page of a 
 manuscript in the library of the Vatican, of which a description is given 
 further on. 
 
 4. Title-page of the “Inferno,” from the same manuscript ; the verse 
 beneath explains the subject. 
 
 5. Dante laments over the sorrows of the beautiful Francesca, who was 
 su rprised with her lover by her husband, and both killed by the same blow. 
 
 6. Count Ugolino revenges himself on the Archbishop of Pisa by 
 gnawing his skulL The four preceding paintings have been selected, from 
 those exemplifying the poem of the “ Inferno,” as giving instances of a 
 correct, although somewhat dry style. The paintings to the poems of 
 “ Purgatory” and “ Paradise,” appear to be by other less talented artists. 
 Throughout the latter poem there is a mannered style and want of effect 
 in the drawing, with such attention to minutiæ that we should attribute 
 it to the school of Zuccheri. The paintings of the “ Purgatory” we 
 should attribute to the school of Perugini, affording a repose to the eye 
 for which we seek in vain among the gaudy colours used in the “ Paradise.” 
 There are 122 paintings in this manuscript, which was left to the library 
 of the Vatican, among others which originally belonged to the Dukes of Ur- 
 bino, as shown by the following inscription :—“ Di. Fredericus Urbini dux 
 illustrissimus, belli fulgur et pac'iB, et P. pius pater.” Under these words 
 there is an eagle, with the armorial bearings of the duke, bearing the 
 insignia of the Order of the Garter. Edward IV. sent this order to the 
 Duke of Urbino in 1476, so that the date of this manuscript must be placed 
 between that year and the time of his death, in 1482. The manuscript is 
 written on fine parchment ; the character is of the fifteenth century. On the 
 last page we find the following note:—“Explicit comedia Dantis Alægherii 
 Florentini, manu Matthei de Contugiis de Vulterris.” It is splendidly 
 bound in red velvet, and has the arms of Pope Clement XI. (Albani) 
 in bronze gilt. 
 
 It is worth while to observe the similarity of ideas for works of the 
 imagination found in the two arts of painting and poetry, and how much 
 each borrowed from the other. Dante took some ideas from the produc¬ 
 tions of the artists of his own time ; but very many more were gained by 
 the painters who followed him, from the rich stores of his imagination. 
 The subjects of the embellishments of manuscripts before the time of Dante 
 
 were almost entirely taken from the prophecies, the pains of hell and 
 purgatory, or the joys of paradise. Most of the writings of this period 
 were on these pious subjects, and even history was mixed with mystical 
 inventions, of which numerous instances could be given, but we will con¬ 
 tent ourselves with naming one example, that of the chronicle of St. 
 Denis in the twelfth century. In this we hear how King Charles the 
 Bald saw an angel in a dream, who, after binding a string to his thumb, 
 led him to hell, and showed him the various places of torment. In one 
 of boiling pitch he recognises his father Louis le débonnaire, and his 
 brother, who, the chronicle proceeds to relate, “ lui commencèrent à dire, 
 en criant et hurlant, Karle, Karle, pour ce que nous amames à faire homi¬ 
 cides et guerres et rapines nous sommes en ces fleuves bouillans.” It is 
 well known that the Florentine Brunetto Latini, who lived a long time 
 in France, was the instructor of Dante. He was also the author of some 
 French works. (Mem. de l’Acad. des Inscript, vol. vii. Apostolo Zeno, 
 Fontanini, vol. ii., p. 320.) Dante was acquainted both with the language 
 and history of France. The latter he must have learned entirely from 
 the chronicle previously quoted ; and we may, therefore, conclude that, 
 wishing to write a satirical history of his own times in a theological form, 
 he derived the idea of his “ Hell,” and the different degrees of punishment 
 for sinners of various kinds, from the chronicler. He also places the 
 half-good and half-bad in purgatory, and finally the really virtuous, those 
 whose lives offer an example worthy of universal imitation, in paradise. 
 It appears that about this time there was a taste for these satirical per¬ 
 formances in F rance. W e find two manuscripts quoted in the library of the 
 Duke de la Vallière. The first is of the thirteenth century, and bears the 
 following title:—“Voyage d’Enfer, ou le Songe d’Enfer,” by Raoul de 
 Houdan. The other. No. 2712, is entitled “ Chest le livres de la voye 
 de Infer.” It is also probable that Dante gained some of the ideas in his 
 poem from more ancient Italian works of a similar description. Malatesta 
 Porta is of opinion that the material for his “ Hell” was taken from an old 
 romance called “ Gucrino da Durazzo common, he says, “ per le mani 
 à donne e à bottegari.” Bure mentions, in bis “ Bibliographie Instructive," 
 three Italian editions of this work, two of which are of the fifteenth cen¬ 
 tury. One was printed in Venice, in 1477, under the following title :— 
 “II libro de lo infelice Guerino, dito Moschino, in questo vulgarmente 
 se tratta alchuna ystoria breve del re Karlo imperatore, &c., e ancora de 
 lo Inferno, etc.” The same author also mentions a translation of this book 
 into French, called “ Le roman du preux et vaillant Chevalier Guerin 
 Mesquin,” translated by Jean de Cuchermois, Lyons, 1530. Copies of this 
 work are very rare. Bottari says, in a letter printed in Rome, in 1753, 
 that this romance originated in Provence, and was only translated into 
 Tuscan by Andrea Barberino, after the death of Dante, so that he could 
 not have made use of it ; but Bottari thinks that he probably did benefit 
 by an earlier work, called the “Vision of Alberic,” a young monk of 
 Monte Cassino, in the twelfth century. This supposition appears very 
 probable, as a letter was printed in Rome in 1801, by a Benedictine 
 abbot, under his literary name of Eustazio Dicearcho, in which he speaks 
 of an ancient manuscript of Dante, preserved in the monastery of Monte 
 Cassino. He also gives full information on the “Vision of Alberic,” 
 an original manuscript of which is also preserved there. He observes that 
 Dante might easily have seen this manuscript on his road from Rome to 
 Naples, as it had attained a high degree of celebrity during the preceding 
 century, and had furnished the subject for a painting in a church in the 
 diocese of Aquila ; but however this may be, Dante rendered an immense 
 service to art by his powerful descriptions of nature in all her reality and 
 simplicity. Among the thousands of beautiful descriptions, the following 
 is perhaps one of the most striking, from the third-book of the “ Pur¬ 
 gatory — 
 
 Come le pecorelle escon del cliiuso 
 
 Ad una, a due. a tre, e l'altre stanno 
 
 Timidette atterrando l'occliio el' muso, 
 
 E cio che fa la prima, e l'altre fanno, &c. 
 
 The descriptions of this poet were real pictures, and the effects of his 
 example on art generally are incalculable. We find instances of this in 
 the works of Cimabue, Giunta, Giotto, and Guariento, all celebrated by 
 Dante, whose pictures, although sometimes incorrect, always preserve a 
 reality and simplicity, and their figures, like those of the poet, are repre¬ 
 sentations of living beings. It would be easy to quote numerous other 
 examples of the powerful influence exercised by this exalted genius over 
 
 
Tav.ZXXYZr. 
 
oueÿvdpA.>»rauuo uwpumaej vuEi|(ÿ(j 
 uievuiyuBuao x«p 
 
 vuufWjaJuap aj jclaouu^juro^u^uyjj 
 
 üupjwnjrxuf ftuwj - inc avOL niiAofoCrj 
 ojoj \i' ouuy Jp wlippo nuHin„ <>uoû 
 ✓ ptuey mpmtunoj ap awujiuoiA rS+- 
 DiumavJüUmQ'i') ouuu-uou cimiclcTOiqcl 
 
 //'<///,/ 1/7 //a</ ci‘/(■//n ni<i/i/‘./i77/ùz deé XV /' ti/.-i/, v 'e/Z/r/nf/t /<" <// a/tm//# *iz/nt? d’ /uf//// 
 
PLATE LXXYII.— (Continued.) 
 
 the fine arts ; but, at the same time, to be impartial, we must admit that 
 ho set the example of an incoherence and a monstrous mixture of idea and 
 expression. We will only quote one instance, in the sixth canto of “ Pur¬ 
 gatory,” where Dante forgets himself so much as to address Christ in the 
 following manner:— 
 
 . 0 sommo Giove 
 
 Che fosti ’n terra, per noi, crucifisso. 
 
 A short time afterwards Orcagna and his brother represented hell 
 with all its fabulous auxiliaries ; and at a still later and more enlightened 
 period, Michael Angelo did not hesitate to introduce souls, condemned by 
 Christ, being conducted across the Styx by Charon. Among an immense 
 number of works giving an account of Dante, the following is very use¬ 
 ful :—“ Le mcmoric per servire alt a vita di Dante Alighieri,” by Pelli, 
 guardian of the Florentine Gallery ; Venice, 1760. To those interested in 
 everything connected with tliis great poet, we would recommend a manu¬ 
 script of his works in the collection of the Duke de la Vallière, No. 3569, 
 
 entitled “ Incommincia lo commento sopra lo Inferno della comedia de 
 Dante Aldrigeri Firentino composto da Messer Guiniforte de li Bargigi 
 doctor." It is a handsome manuscript written on parchment, and bearing 
 the arms of Francis I. On a loose leaf we find the following verse ad¬ 
 dressed to him upon the presentation of the manuscript :— 
 
 Ad regem christianissinmm, Ja. Minutius. 
 
 Très Dantes, tu clara milii rex munera prestas, 
 
 Atque aliquem ex nihilo me facis esse virum. 
 
 Ipse sed Etlnuscum, cum claro interprète, Dantem 
 Adlatuin ex Italis in tun jura fere ; 
 
 Sic quoque munificus fueris, nam sumere partem 
 A quo debentur omnia dona, dare, est. 1519. 
 
 This work is the more valuable that it has never been printed. The 
 commentator Guiniforte Barziza was born at Bergamo, in 1406. The 
 exact date of liis death is not known, but he was still living in 1459. 
 
 PLATE LXXVIII. 
 
 MINIATURE PAINTINGS FROM A LATIN MANUSCRIPT OF THE BIBLE. FIFTEENTH CENTURY. 
 
 Among the manuscripts in the library of the Vatican, which 
 formerly belonged to the Dukes of Urbino, there are two large 
 volumes of fine parchment, containing the whole of the sacred 
 books, embellished with paintings of figures, landscapes, and 
 arabesques ; the latter are executed with great taste and delicacy. 
 The painting on this plate is in the second volume, and represents 
 the marriage of the prophet Hosea with Gomer. It is evident 
 that the paintings are by two different artists, one possessing 
 much less talent than the other ; the subject given here is by 
 the most talented of the two. On the first page we find the 
 following inscription, written in large gold letters on a blue 
 ground :— 
 
 “ In hoc ornatissimo codice continetur seconda pars Biblie 
 Divo Hieronimo ex hebreo in latinum conversa, et Psal¬ 
 terium David ab eodem de greco in latinum translatum, 
 ex interpretatione septuaginta duor. interpretum.” 
 
 Among other ornaments on the borders we find the Order of 
 the Garter, with figures and various allegorical subjects. On 
 the last leaf of the volume is the following inscription, a part of 
 which, traced from the original, is engraved on the margin of 
 the plate ; it gives the most satisfactory information on the 
 origin, date, and proprietor of this fine manuscript, as also the 
 writer, who was a native of France ; it runs thus :— 
 
 fllussttispimuo ^rinreps JTrcÜcrtcuÿ (Ilrtnni Due ft 
 ^Flonritf—JTcrctri Conics, IKcgius Captitancus? ae Sanctit 
 ISomaUiT CcclcsnT bieilifer non minus efjtistiamc rcligi 
 oniO tuenbæ, atque crornantbT q. rci militari ampïiâcanbæ 
 intentas, ïjanc ornatissimam bibliam facienbam curabit. 
 Tcspasiano, IPfjilippi filio JTlorcntino librario procurante. 
 (Ilgonis hero be Commincllis? francigcnc manu bcsîcripta est. 
 £lnn mcccclrriii bic 3funii aueiliante Dno. 
 
PLATE 
 
 XXIX. 
 
 MINIATURES AND ORNAMENTS FROM A BREVIARY, WHICH FORMERLY BELONGED TO MATTHIAS CORVINUS. 
 KING OF HUNGARY ; A LATIN MANUSCRIPT OF THE END OF THE FIFTEENTH CENTURY. 
 
 1. Title-page of the Breviary. 
 
 2. Jesus Christ, accompanied by several Apostles, calls upon 
 St. Peter to become an Apostle ; this subject, as well as the pre¬ 
 ceding, is traced from the original. 
 
 3. Arabesque with figures, from one of the borders of the 
 manuscript. 
 
 4. Specimen of a kind of cursive writing, from the last page 
 of the manuscript. 
 
 5. Another specimen of the character, bearing the date of 
 the transcription of this manuscript, 1487. 
 
 6. Arms of the cardinal who presented this beautiful manu¬ 
 script to King Matthias ; the form of the shield is exactly the 
 same as that of the king, which follows. 
 
 7. Arms of Matthias Corvinus, king of Hungary. 
 
 8. The date 1492, under a painting on page 345 of the 
 manuscript, from its being some years later than the one at the 
 commencement, shows that the ornamental part of the work was I 
 not completed until some time after the transcription. The i 
 number of this manuscript is 112 in the library of the Vatican ; ! 
 it belonged originally to the collection of the Dukes of Urbino. 
 On the last page we find the following inscription :— 
 
 ©rcmpl.iti&ua satis fib is iHartljirc inclpti regia lilimg.irirc ct 
 •Bocmmic brebiarii cobicnn ego ittarttnus SXntoniu# presbp- 
 ter, Dei gratia, fatistissime manu propria scripsi. (Dpus 
 absolutitm pribic Hal. Jftobcmbrib, anno sal. niccectovbii. 
 JTinis. è4t laus Deo, par bibis ct requiem bcfunctis. iQuis 
 scripsit, sertbat, semper turn Deo bibat, in ccliS, semper 
 cum Dim Felijr. 53meit. 
 
 Although we find from history that King Matthias died in 1490 
 or 1491, on page 345 of the manuscript we find the date of 1492, 
 
 from which we must conclude that the paintings to the manu¬ 
 script were not completed until after the death of the king. The 
 author of the paintings in this manuscript evidently belonged to 
 the Florentine school ; they were probably by Gherardo, who 
 executed many subjects of this kind in books, and Vasari men¬ 
 tions some executed by him for the King of Hungary. (Vite 
 de’ Pittori, vol. i., p. 423 ; Roma.) 
 
 It is not known who the cardinal was who presented this 
 beautiful book to King Matthias ; it is remarkable that with the 
 i exception of the colours his arms greatly resemble those of the 
 king. Matthias Corvinus was veiy anxious to possess beautiful 
 books ; the celebrated Psalter, printed at Mayence in 1457, the 
 first book printed with a date, belonged to him, and he employed 
 learned men, both in Florence and Parma, to collect and tran¬ 
 scribe works for his library at Buda. (Tiraboschi, Storia della 
 Letteratura Italiana, vol. vi., part i., lib. i., cap. iv.) 
 
 Tiraboschi adds, that after the death of Matthias a great 
 number offris books returned to Italy; a great many found their 
 way into the library of the family of Este at Modena ; some to 
 that of the dukes of Urbino ; and in the library of the Emperor 
 of Austria at Vienna, there is now a very beautiful manuscript 
 from this collection. (Ibid, vol. vii., lib. i., cap. v., § xxiv. ; 
 Modena, 1788.) France also possesses a part of tliis valuable 
 collection in the library of the Duke de la Vallière ; there is 
 a very beautiful folio manuscript, No. 444, entitled “ Divi Hiero- 
 nimi breviarum,” which bears the arms of King Matthias ; it is 
 less rich in paintings than that belonging to the library of the 
 Duke of Urbino ; but the writing and ornamental borders are 
 equally beautiful. In his description of this manuscript, Tira¬ 
 boschi gives some interesting details concerning King Matthias, 
 and the library of Buda ; he also mentions that the name of the 
 calligrapher was Sinibaldi. 
 
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PLATE LXXX. 
 
 MINIATURES FROM A COLLECTION OF POEMS, IN HONOUR OF POPE JULIUS II., AND HIS NEPHEWS; 
 LATIN MANUSCRIPT OF THE SIXTEENTH CENTURY. 
 
 1. Triumphal procession of Pope Julius IL, after his con¬ 
 quest of Bologna; he is sitting on a triumphal car, or quadriga, 
 with his troops preceding, and prisoners following him. The 
 personification of the city of Jerusalem addresses the following 
 words to him from heaven: — “ Hierusalem miserere tuæ.” 
 Under the painting we find allusion made to the intention enter¬ 
 tained by this warlike pope, of conquering the Holy Land, 
 This subject is traced from the original. 
 
 2. Portraits in medallions of Pope Julius II., his brothers, 
 and his nephews, also traced from the original. This manuscript 
 is in the library of the Vatican, No. 1687 ; on the back of the 
 first page we find the following words :— 
 
 “Sanctos Pontificis lares adibis 
 
 CuLTDM CARMINIBUS MEDM VOLUMEN 
 
 Sacrum, nobile, splendidumque totum, 
 
 Misso vertice Julio dicatum; 
 
 Lumque flosculis elegans politis 
 
 Gaudentem excipies liber patronum 
 
 TeRSÆ JUNCTUS EPISTOLÆ SEQUENTI, 
 
 Trades oscula, basiumque dulce; 
 
 O QUOT MILLIA TUNC TIBI REMITTET 
 
 Princeps Julius . . . . ” 
 
 The poem has the following signature, “Jo. Michael Papiéh.” 
 
 The arms of the pope occupy the whole of the third 
 page, and on the fourth we find the following dedication:— 
 
 “ Incomparabili Pont, nostro, humani generis defensori, 
 
 IMPERII, DITIONISQUE CHRISTIANÆ, FUNDATORI SECURITATIS, ETIAM 
 ÆTERNÆ, DlVO JuLIO II., DE RuVERE, FELICI, PoNTIFICUM 
 MAXIMO, PIO ET SEMPER BEATISSIMO DlVI SlXTI IV. SEMPER 
 VENERABILIS NEPOTI : UBIQUE SPLENDIDISSIMO. Jo. MlCHAEL 
 
 Nagonius, Julianæ majestati veluti dicatissimus, salutem 
 plurimam dicit.” On the reverse of the fourth page is the fol- 
 
 | lowing address to the pope :—“ Dum mecum cogitarem, beatis- 
 sime Pater, quid tibi, veluti alteri Julio, augusto, pio 
 
 FELICI, MAXIMO ET SEMPER INVICTO, MAJUS DARI POSSET QUAM 
 IPSA groria, LAUS et æternitas,” &c. There are also several 
 addresses to the nephews of the pope; the following is one of 
 them: — “Ad eôdem Divù Julium P. M. et illustrissimum 
 
 DUCEM SORÆ, ALMÆ URBIS PRÆFECT. D. D. FrANCISCUM Ma- 
 riam DE Ruvere, nepotem CELIBERRIMUM, CONGRATULATIO, OB 
 EJUS TRIÜMPHALEM CORONATIONEM, HABITAM RoMÆ TAMQ. IN 
 TEMPLO OLIM FoRTUNÆ OPTIME. COLLES SACRATOS V1DEAT NE- 
 potes,” &c., &c. A number of smaller poems in this volume 
 relate to the pope and his nephews, and also to the painter of the 
 miniatures ; there is no historical notice of the subjects of the 
 latter, but their style and execution show a return to ancient 
 art. Whilst considering the trophies of art, both in the way of 
 poetry and painting, raised to Pope Julius II., we would also 
 notice, what the same arts produced against him, of which 
 Montfaucon gives a full account in his history of the reign of 
 Louis XII. (Monumens de la Monarchie Française, vol. iv., 
 pi. xiii., p. 114.) A miniature painting of the same period re¬ 
 presents the church mourning over her own fate, and complain¬ 
 ing of the warlike character of Julius II. :— 
 
 Il fait beau veoir ung ancien prestro en armes 
 Crier l'assault, exhorter aux allarmes : 
 
 Souillé de sang en lieu de sacrifice, 
 
 Contre lestât de son très digne office. 
 
 Fermer son Camp en temps rude et divers, 
 
 Illec souffrir le plus dur des yvers 
 
 Que, pleut à Dieu, qu 'eussions ore un tel Pape 
 
 Qui fût content de sa Mitre et de sa chappe, 
 
 Sans armes prendre, et soi tant déguiser 
 Qu'on ne le peut bonnement déviser. 
 
 Julius revenged himself by a medal sufficiently offensive to the 
 King of France. Montfaucon gives it from Le Blanc. 
 
 Painting U 
 
PLATE LXXXL 
 
 CHRONOLOGICAL PICTURES FROM GREEK AND LATIN PALEOGRAPHY, FROM THE EIGHTH TO THE 
 FOURTEENTH CENTURY. 
 
 Among the first plates devoted to the history of miniature 
 paintings, No. xxvi., there is one representing an artist in his 
 atélier, making the drawing of a plant, as an illustration for 
 the work of Dioseorides. This plate will terminate this history 
 in presenting the figures of two calligraphers or writers, whose 
 labours gave occasion for so much of this kind of painting ; and 
 when compared with the preceding, will give a complete idea of 
 their mode of proceeding. 
 
 1. A Greek calligrapher represented as an evangelist ; he is 
 opening a box containing various utensils for his art, and as there 
 is no pen, we conclude that he engraved on tablets with a style ; 
 above his head may be observed what Ausonius calls “ Bipatens 
 pngillar." (Epigr. cxlvi.) 
 
 2. Page of a book, divided into two columns. 
 
 3. A form of calendar frequently found at the commence¬ 
 ment of Greek manuscripts. 
 
 4. Capital letters from a Greek manuscript of the library of 
 of the Vatican, No. 354. 
 
 5. The writer of a Latin manuscript represented as an evan¬ 
 gelist. His apparatus is very simple ; he is writing with a pen 
 in a bound book on his knees. 
 
 6. Arrangement of the writing in a Latin manuscript ; it is 
 divided into two columns, like the Greek manuscript in No. 2. 
 
 7. Part of the ornament at the sides of the manuscript. 
 
 8. Specimen of the cover of a book, richly caned in ivory. 
 
 9. Chronological arrangement of Greek paleography, from 
 the eighth to the thirteenth century. 
 
 10. Chronological arrangement of Latin paleography, from 
 the eighth to the fourteenth century ; in the preceding plates we 
 have given specimens of the character used in each manuscript 
 quoted, here we give specimens of both Greek and Latin paleo¬ 
 graphy from various manuscripts, as Montfaucon says, “ vmo sub 
 aspectu." Until the thirteenth century the art of writing was 
 
 almost entirely confined to ecclesiastics and monks, with whom 
 transcribing the Holy Scriptures was almost a daily occupation. 
 The art being one more of dexterity than talent, did not dege¬ 
 nerate so much or so rapidly as painting, nevertheless it did 
 not escape the general decline from the twelfth to the four¬ 
 teenth century. The Latin alphabet under No. 10 of the four¬ 
 teenth century is of the kind of letters called Gothic , although 
 with as little reason as the style of architecture bearing the 
 same name. In the alphabet of the twelfth century the five 
 letters a, c, e, r, t, are those called Beneventine, of which we 
 have already spoken in pi. lxviii. They are found in the manu¬ 
 script executed in the dukedom of Benevento and neighbouring 
 principalities, and seem to be a variety of the Lombard letters ; 
 they no doubt originate from the small Latin letters, of which 
 the forms were varied in different countries. The figure of the 
 calligrapher in No. 1 is from a Greek manuscript containing 
 the four books of the evaugelists. It possesses but little interest 
 for the painter, but a great deal for the calligrapher. In a note 
 on the 234th page the date is given in the tenth century, the 
 Latin translation of which rims thus :—“ Scriptus est venerandus 
 iste liber per manum met Michaelis monaehi peccatoris, mense 
 martio i. die, ferid quintd hard sextd ami 6457 indictionis sep- 
 timee.” This is the year 949. This beautiful manuscript is 
 written on strong parchment, and contains 237 pages ; some of 
 the capital letters are colossal, and frequently in the form of a 
 bird ; others are formed of animals, but they are more the work 
 of the writer than the painter. The calligrapher in No. 5, repre¬ 
 sented as an evangelist, is from a manuscript in the Vatican of 
 the books of the evangelists, No. 50 ; it is a celebrated work, 
 frequently spoken of by historians, and particularly by Gori in 
 his “ Thesaurus veterum diptychonun,” vol. iii., part i., p. 25, 
 pi. iv. and v. This beautifid manuscript is attributed to the 
 hand of Ingelbert, a celebrated calligrapher of that period. 
 
V 
 
 PAINTINGS IN FRESCO, AND IN DISTEMPER 
 ON WOOD AND ON CANVAS. 
 
 BYZANTINE SCHOOL. TENTH AND THIRTEENTH CENTURIES. 
 
 PLATE LXXXII. 
 
 THE INTERMENT OF ST. EPHRAIM; GREEK PAINTING ON WOOD. ELEVENTH OR TWELFTH CENTURY. 
 
 This painting, in distemper on wood, is in the Museum 
 Christianura, which forms part of the library of the Vatican; it 
 measures one foot, seven inches, six lines in height, and one 
 foot, four inches, six lines in width. 
 
 Byzantine art has varied so little in the course of time 
 from its original form, and is still so closely imitated in the 
 Greek and Russian churches, and, above all, in the East, that 
 an historical account of these paintings becomes unnecessary. 
 Many of them, probably the greater part, belong to a somewhat 
 late period, and were executed in foreign countries, many in 
 Venice. These remarks apply to the plate before us, as also 
 those which follow. 
 
 1. The ensemble of this painting in diminished size; in the 
 centre at the lower part we see St. Ephraim in his coffin, sur¬ 
 rounded by hermits, from different countries of the West. In 
 the background he is seen at work or performing different acts 
 of penance. 
 
 2. Part of the same subject traced from the original ; on 
 the inscription we find the name of the painter, Emmmuel 
 Tranfurnari. 
 
 3. Various figures from the same subject, given ini tracings 
 of the original; among them we see an angel carrying the soul 
 of St. Ephraim to heaven in the form of a child. 
 
PLATE LXXXI1L 
 
 THE INTERMENT OF THE VIRGIN ; RUNIC PAINTING IN DISTEMPER ON WOOD. ELEVENTH CENTURY. 
 
 1. The Virgin laid in her tomb by the Apostles and holy women ; the inscription, in Runic letters, is “The sleep of the 
 Virgin, the Mother of God;” the ornaments on the borders are in silver. This painting is in the Museum Chnstianum 
 in the Vatican, and given here traced from the original. 
 
 2. A painting on wood, diminished size, representing St. Nicholas, bishop of Myra; the border is formed of engraved 
 silver plates, on which small paintings aie inserted, two of which are given in their original size under No. 3. 
 
 3. The two small pictures mentioned above, full size. 
 
T„v LXXXIV. 
 
PLATE LXXXIV. 
 
 AN ANCIENT FRESCO PAINTING, BY A MASTER OF THE GREEK SCHOOL ESTABLISHED IN ITALY. 
 
 1. The preaching and the martyrdom of St. Peter and St. 
 Paul. This fresco painting was still to be seen in Ciampini's 
 time, although partially injured, in the ancient Church of St. 
 Andrea in Barbara, which was built on the ruins of the ancient 
 Bisilica Siciniana in the fifth century ; it is however now quite 
 destroyed. Ciampini considers this painting to be a work of the 
 fifth or sixth century ; but it may be somewhat later. (Ciampini, 
 Vetera Monimenta, vol. i., cap. vii., pi. xxv.) 
 
 2. The pope putting on the pontifical robes. This fresco I 
 painting was formerly over the door of the oratory of St. Thomas, 
 
 at one end of the ancient portico of the Basilica of St. John 
 Lateran. It was built by Pope Giovanni XII. in the tenth 
 century. This plate is taken from Ciampini’s work. (Ibid, 
 vol. iii., p. 14, pi. iv.) 
 
 3. The interment of St. Cecilia and her appearing to Pope 
 Paschalis I. These figures are from a fresco painting, given 
 complete under the letter H, which were formerly, with the others 
 on this plate, in the outer portico of the Church of St. Cecilia 
 in Rome. We give the subjects of the following paintings 
 as described by Antonio Bosio in his “ Historia passionis 
 
 B. Cæciliæ,” etc. ; Roma, 1600 :— 
 
 A. A feast given upon the occasion of the betrothal of 
 St. Cecilia to Valerian in the palace of her father. 
 
 E. St. Cecilia conversing with Valerian. 
 
 B. Valerian surrenders himself to Pope Urban, according 
 to the advice of St. Cecilia. 
 
 C. Valerian, converted, is baptized. 
 
 D. An angel appears to the affianced pair and places crowns 
 on their heads. 
 
 F. St. Cecilia addresses the soldiers sent by the prefect 
 Amalchius. 
 
 G. Martyrdom of St. Cecilia. 
 
 H. Interment of St. Cecilia, and her appearing to Pope 
 Paschalis I. This painting is the only one which time has 
 spared. 
 
 I. The Pope St. Urban admonishing the neophytes. 
 
 K. The martyrdom of a saint, who is laid on burning 
 coals. 
 
 L. Martyrdom of a saint given to wild beasts. 
 
 M. St. Cecilia placed in a boiling bath, in her own house. 
 
 N. Various figures of saints of both sexes, a fragment of a 
 painting much injured. 
 
 O. Appearance of a saint 
 
 P. Another fragment of a painting, so much injured that 
 the subject cannot be discovered. 
 
 Q. View of the interior of the portico of St. Cecilia, where 
 the place occupied by these paintings is indicated by the same 
 capital letters. 
 
 These paintings being now obliterated, the subjects are 
 given from drawings in the Barberini library, executed under 
 the superintendence of Cardinal Francesco Barberini, celebrated 
 for his taste in art and science. 
 
 PilNTIWQ V 
 
PLATE LXXXV. 
 
 GREEK PAINTING ON WOOD, CARRIED TO ITALY IN THE ELEVENTH OR TWELFTH CENTURY. 
 
 1. Christ sitting on a throne between St. Peter and St. Paul; he appears to be giving a blessing with the left hand, but 
 this no doubt is an error of the engraver, who lias forgotten to reverse the subject. On one side of the book which 
 Christ holds in his hand, we read the following words, from St. Matt., chap. xxvi. :—“ Take and eat, this is my body ; ” 
 and on the other side, “ I am the light of the world ; he who follows me will not wander in darkness.” 
 
 2. Alphabet used in the inscriptions. 
 
 3. The hand of Christ, traced from the original. 
 
 4. Head of St. Peter, also traced from the original. This painting is square, measuring three feet ten inches ; it is in the 
 Church of S. Stefano rotondo at Rome ; it is believed that it must have been brought from Greece by the Greek monks, 
 w'ho originally belonged to this church. 
 

 ! 0-i 
 
PLATE LXXXVI. 
 
 GREEK PAINTING IN DISTEMPER ON WOOD. TWELFTH CENTURY. 
 
 The holy abbot St. Anthony; painting in distemper on wood, from the collection of Cardinal Zelada, traced from the 
 original. The inscription on the roll informs us that the saint understood the devices of the devil, and had weapons to 
 combat with him. Paintings on the temptations of this saint are very numerous, especially in the Flemish school. 
 
PLATE LXXXVIL 
 
 A GREEK MADONNA ; PAINTING IN DISTEMPER ON WOOD. 
 
 This subject is from a painting in Agincourt’s collection, carefully traced from the original. Among the various 
 interpretations attributed to the inscription, which is in gold, the most probable appears to be that she was “ the 
 protectress of travellers and armies." (Montfaucon, Paléographie greéque, p. 51.) 
 

4 . A 
 
PLATE LXXXIX . 
 
 GREEK PAINTING IN DISTEMPER ON WOOD. TWELFTH OR THIRTEENTH CENTURY. 
 
 FRESCO PAINTING FROM THE CHURCH OF ST. STEPHEN AT BOLOGNA. TWELFTH OR THIRTEENTH CENTURY. 
 
 1. Mary supporting the dead Christ on her knees ; this painting is on a gold ground, and was probably brought to Italy 
 from Greece. It was in Agincourt's collection. 
 
 ‘2. Christ bearing his cross to Golgotha followed by holy women ; a fresco painting in the Church of S. Stefauo at 
 Bologna. 
 
 3. Various heads from the same subjects in larger size. 
 
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PLATE XC. 
 
 GREEK PAINTINGS IN DISTEMPER ON WOOD. THIRTEENTH CENTURY. 
 
 1. St. Theodoras and another saint of the same name, both on 
 horseback ; this painting is in the Museum Christianum in the 
 Vatican, from an original tracing. The inscription at the side gives 
 the title of general to one of these saints, and that of Ins disciple 
 to the other. The first is among the martyrs of the 8th February, 
 in the Greek menologue in the library of the Vatican, No. 1613, 
 from which we have given some of the subjects in plates xxxi., 
 xxxii., and xxxiii. A note in the manuscript informs us that 
 this saint was a general, and commanded at Heraclea in Pontus 
 under the Emperor Licinius, who held him in great esteem and 
 paid him a visit in person to endeavour to turn him from Chris¬ 
 
 tianity. It therefore appears very probable that this painting 
 represents Theodoras going out to meet the emperor accom¬ 
 panied by one of his captains of the same name, who was also 
 a Christian and martyr. 
 
 2. St. Titus, archbishop of Crete ; the life of this saint is 
 given in the Greek menologue. The painting only measures 
 four inches, three lines 
 
 3. Inscription at the back of the preceding picture, which 
 informs us that George Clotzata took pleasure in painting it, 
 praying to be remembered. 
 
 4. Head of St. Titus in the original size. 
 
PLATE XCI. 
 
 GREEK TRIPTYCHON, WITH PAINTINGS IN DISTEMPER ON WOOD, APPARENTLY OF THE THIRTEENTH CENTURY. 
 
 1. Front view of the triptychon, with the two doors or 
 wings shut. 
 
 2. Back of the same. 
 
 3. Interior of the triptychon, with the wings thrown back. 
 
 4. Outer side of the same. 
 
 5. Left wing of the triptychon, marked D ; the Greek 
 inscription informs us that this painting is a view of Mount 
 Sinai, with its monastery. A caravan is seen in the foreground. 
 
 6. Part of the caravan, traced from the original. 
 
 1 . Right wing of the triptychon, marked F. The title of 
 this painting shows that it represents the first general council 
 at Nice, in 325, where Alius was condemned in the presence of 
 the Emperor Constantine. This subject is given from a tracing 
 of the original. 
 
 8. A painting on the back of the triptychon, marked E, 
 representing one of the mystic ladders, of which several exam¬ 
 ples were given in pi. lii. On this ladder we see the chosen 
 
 mounting to Heaven, and received by Jesus Christ; whilst the 
 damned are tom from it, and cast into hell by devils. 
 
 9. One of the groups, traced from the original. 
 
 10. Painting on the left wing of the triptychon, letter A, 
 representing the Virgin and Child sitting in a tree, among the 
 branches of which are the figures of twelve prophets. 
 
 11. The Virgin and Child, traced from the original. 
 
 12. Painting on the centre of the triptychon, marked B; 
 Christ is represented sitting on a throne, with the Virgin, 
 St. John, and a number of saints singing his praises. The in¬ 
 scription is as follows :— 
 
 Totus salvator es, tota dulcedo, totum desiderium atque appetitus verc 
 insatiabilis, tota pulchritudo insuperabilis, ergo nos ad te translatos, tmi 
 eelsitudine purgatos, fac ut veils et divinâ tuâ pulchritudinc dignos. 
 
 13. Painting on the right wing, marked C. Christ is giving 
 his blessing from a tree, on the boughs of which are half figures 
 of the twelve apostles. 
 
 14. The figure of Christ, traced from the original. 
 
PLATE XCII. 
 
 PAINTING IN DISTEMPER ON WOOD, EXECUTED IN ITALY, IN THE GREEK STYLE. 
 
 TWELFTH OK THIRTEENTH CENTURY. 
 
 Christ appearing to Mary Magdalene as a gardener; this painting is in the Mnseum Christianum at the Vatican, and 
 measures eleven inches five lines in height, and eight inches in width. At the back is the following inscription 
 
 “ Donatus Bizamanus, pinxit in Hotranto." 
 
 
PLATE XCIV. 
 
 FRESCO PAINTINGS FROM THE CHURCH OF S. URBANO 
 
 OF A GREEK SCHOOL ESTABLISHED IN ITALY. 
 
 The paintings given on this and the following plate are from 
 the interior of an ancient building on Mount Caffarella, near the 
 fountain of the nymph Egeria. The plan and details of this 
 building are given in pi. xx. of the Architectural part of this 
 work. By some it is considered to have been a temple dedicated 
 to Honour and Virtue. It was used as a church by the early 
 Christians, and called St. Urban. At the lower part of the 
 painting of the crucifixion are the following words :_ 
 
 BONIZZO FRT. A. "XPÏ. MXI. 
 
 The name of Bonizzo is frequently met with in the records of 
 the tenth, eleventh, and twelfth centuries. 
 
 Under the paintings given on this and the following plate, 
 there are the remains of some still more ancient, and if this 
 building was really the temple dedicated to Honour and Virtue 
 mentioned by Pliny, we may conclude that the paintings were 
 those attributed by him to Cornelius Pinus and Accius Priscus. 
 
 ALLA CAFFARELLA NEAR ROME; PROBABLY THE WORK 
 ELEVENTH CENTURY. 
 
 At the restoration of this church in 1634 by Pope Urban 
 VIII., the subjects given were painted over, but without 
 changing the forms or letters. There are some ancient draw- 
 ings of these fresco paintings in the Barberini library, but their 
 want of accuracy prevents their being made use of; fresh 
 drawings were therefore made on the spot in 1783. There 
 appear to have been originally explanations of the subjects 
 under the paintings, but with the exception of two or three 
 they are now illegible. 
 
 The style of the painting closely approximates to that of 
 the ancient Greek school. The body of our Saviour is fastened 
 to the cross with four nails, and covered according to Greek 
 custom ; the arms are also supported by two angels ; and in 
 the two following subjects, the holy women at the grave of 
 Christ are in Grecian costume, and our Saviour is giving Iris 
 blessing according to the manner of the Greeks. 
 
PLATE XCV. 
 
 CONTINUATION OF THE FRESCO PAINTINGS IN THE CHURCH OF ST. URBAN ALLA CAFFARELLA NEAR ROME 
 WORKS OF THE GREEK SCHOOL ESTABLISHED IN ROME. ELEVENTH CENTURY. 
 
 This plate gives the continuation of the fresco paintings of the Church of St. Urban, given in the preceding plate. 
 We have nothing to add to the observations already made, except that the imitation of the works of the ancient Greek 
 school is very apparent in the compositions representing the journey and arrival of the magi; in the different figures of 
 the angels; in their presence at the stable, the birth-place of our- Lord; and in an infinity of details which are often 
 met with on the early Greek manuscripts, or on the sculptures of the diptychons. See pi. xii. of the section Sculpture 
 of this work, No. 14, where the “ nativity” is treated in a similar manner to that engraved on this plate. 
 

PLATE XCVI. 
 
 FRESCO PAINTINGS OF THE BASILICA OF ST. PAUL OUTSIDE THE WALLS OF ROME; WORKS OF THE 
 GREEK SCHOOL EXECUTED IN ROME. ELEVENTH AND TWELFTH CENTURIES. 
 
 The subjects on this plate are selected from the paintings on the interior walls of the Basilica of St. Paul. There is 
 a monogram, apparently that of Pope Sergius, nearly obliterated; while an inscription near the figure of a pope 
 in the “crucifixion” implies it to be that of Boniface VIII., who reigned from 1294 to 1303. There is a great 
 similarity to the ancient Greek school in the arrangement and details of the painting ; but in the movement of the 
 figures, the arrangement of the drapery, &c., &c., we find the deterioration which the Greek style naturally underwent 
 by passing through the hands of Greek masters who had long resided in Italy. 
 
 Painting Y 
 
PLATE XCYII. 
 
 VARIOUS PAINTINGS OF THE PURE ITALIAN SCHOOL. 
 
 1. Entrance of the Abbey of St. Vincent and St. Anastasius 
 at the Three Fountains near Rome, on the walls of which are 
 the paintings Nos. 2 and 3. 
 
 2. Paintings of the ninth and tenth centimes, formerly on 
 the arch over the entrance to the Abbey of the Three Fountains ; 
 they are given here from drawings in a manuscript in the Bar- 
 berini library, No. 1050. The subjects relate to the history of 
 Charlemagne and Leo III. 
 
 3. Paintings, with inscriptions, on the same porch ; the 
 latter were still legible in 1780, and related to the various 
 possessions of the abbey given by Charlemagne. 
 
 4. Monks celebrating the mass in the abbey. 
 
 5. Ceremonies of interment in the same. 
 
 6. Monks variously employed. 
 
 7. Monks in various attitudes. The four latter subjects are 
 now entirely obliterated. 
 
 8. Portrait of Pope Ilonorius III., who reigned in the early 
 part of the thirteenth century. This painting is within the 
 entrance of the abbey. 
 
 9. Peter on his throne, blessing with one hand and holding 
 the keys of paradise in the other. This figure is painted in 
 distemper on wood, nearly the size of life, in the Church of 
 S. Pietro in Banchi. (Lettere Sanesi, vol. i.. p. 210.) 
 
 10. “Ecce homo.” This painting on wood belongs to a 
 remarkable collection in the Malvezzi Palace in Bologna. 
 
 11. Parts of ancient paintings in Verona. 
 
 12. Standing figure of S. Francisco di Assisi, engraved from 
 a painting in the Chapel of Pius V. in the Vatican. According 
 to Tiraboschi, the original was in the Gastello Guiglia, held by 
 the Marquises of Montecuccoli, with the following inscription :— 
 “Bonaventura Berlingeri me pinxit, de Luca, Anno 1235." 
 (Storia della Lett. Ital., vol. iv., lib. iii., cap. 6.) 
 
 13. Christ on the cross, with angels, the Virgin, St. John, 
 St. Peter, and St. Paul. This fresco painting was in an ancient 
 church at Treviso, which now forms the chapter-room of 
 the Dominican Monastery. (Federici, Memorie Trevigianc ; 
 Venezia, 1803.) 
 
 14. The Virgin and Child with angels and saints; a painting 
 on wood, attributed to the thirteenth century. (Etruria Pittrice ; 
 Firenze, 1791, vol. L, pi. iv.) 
 
 15. Translation of the bodies of the holy martyrs, Pope 
 Pontianus and the Bishop Eleutherus. This fresco painting is 
 in the vaults of the cathedral at Velletri, and dated 1254. 
 
 16. The crucifixion ; a fresco painting in the cathedral at 
 Naples. Dominici ascribes this painting to Thomaso de’ Stéfani, 
 who was bom in the early part of the thirteenth century. 
 

PLATE XCVJII. 
 
 FRESCO PAINTINGS OF THE PORTICO OF THE CHURCH OF THE THREE FOUNTAINS. PURE ITALIAN SCHOOL. 
 
 THIRTEENTH CENTURY. 
 
 The subjects on this plate are from the interior of the 
 portico of the Church of St. Vincent and St. Anastasius of the 
 Three Fountains; they are given from drawings executed for 
 Cardinal Francesco Barberini, which are still in the library 
 belonging to his house, No. 1050. The letters mark the places 
 which the different fresco paintings occupied. The paintings of 
 A and B are not given. 
 
 C C. Parts of figures of saints. 
 
 D D. Towns and fortifications. 
 
 E. Charlemagne and Pope Leo III. with three cardinals. 
 
 I. The abbot and his monks receiving the head of St. 
 Anastasius. 
 
 K. St. Vincent, exposed naked to wild beasts, is untouched 
 and protected by them. 
 
 L. St. Vincent thrown into the sea with a stone about his 
 neck. 
 
 Q. St. Anastasius tied to the tails of wild horses. 
 
 R. St. Anastasius hung up and pierced with arrows. 
 
 S. He is interred, and his soul borne to Heaven by an angel. 
 
 T. Figures of St. James and St. Leonard, with various 
 buildings which probably belonged to the abbey. 
 
PLATE XC IX. 
 
 FRESCO PAINTINGS AT S. LORENZO OUTSIDE THE WALLS OF ROME. GRECO-ITALIAN SCHOOL. 
 THIRTEENTH CENTURY. 
 
 The paintings on this plate relate chiefly to the lives and 
 martyrdoms of St. Stephen and St. Laurence ; the subjects on 
 the three first lines relate to St. Stephen. He is seen preaching 
 to the inhabitants of Jerusalem, he is then stoned to death and 
 buried, his bones are afterwards found and removed, and mira¬ 
 cles are performed by his intercession. lhe three next lines 
 relate to the history of St. Laurence ; he restores the sight of 
 Lucillus, and baptizes in front of the Temple of Mars. In the 
 sixth line, Pope Honorius III. administers the sacrament and 
 gives his blessing to Pierre de Courtenay, count of Auxerre, 
 after having crowned him Emperor of Constantinople in 1217. 
 The ceremony of the coronation is represented in the seventh 
 
 line. (Mabillion, Iter Italicum, voL i., p. 81.) The pictures on 
 the eighth line relate to the death of some person whose deeds 
 are weighed in the balance by St. Michael and the devil, each 
 striving for his soul ; this idea seems to have originated at a 
 very early period. The three lower lines relate to the history of 
 St Laurence. On the ninth, he washes the feet of deacons, heals 
 St. C'yriac, gives alms, and teaches St. Romanus. On the 
 tenth, St. Laurence is scourged by order of the Emperor Vale¬ 
 rian ; St. Romanus baptized and beheaded. The eleventh line 
 contains the martyrdom of St. Laurence and his interment by 
 Justinus. To give an idea of the character of the drawing, we 
 give some of the figures in larger size under No. 12. 
 
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PLATE C. 
 
 FRESCO PAINTINGS AT SUBIACO. GRECO-ITALIAN SCHOOL. TWELFTH AND THIRTEENTH CENTURIES. 
 
 1. The Virgin and Child with two angels; this fresco 
 painting is in the Abbey of Subiaco, forty-five miles from Rome. 
 
 It bears no date, but has the name of the painter thus:— 
 
 “ Magister Conxolus pinxit hoc opus.” 
 
 2. The name of Conxolus traced from the original. 
 
 3. Fresco painting from the small Chapel of St. Gregorius at 
 the same place. (See pi. xxxv. of the part on Architecture.) 
 The inscription relates to the consecration of the church by 
 Pope Gregory IX., who reigned from 1227 to 1241. This work 
 is executed in the Greek style. 
 
 4. Pope Innocent III. (1198-1216) giving a bull in favour 
 of the Monastery of Subiaco ; from the same place. 
 
 5. Portrait of St. Franciscus painted on the wall of the , 
 
 Chapel of St. Gregorius ; the name of Franciscus is traced 
 from the original as a specimen of the letters. 
 
 6. Head of St. Franciscus traced from the original; his 
 features agree exactly with the description given in the “ Liber 
 conformitatum, etc.” “Facies hilaris, vultus benignus, facie 
 utcumque oblonga et protensa, frons plana et parva, nasus 
 œqualis, subtilis et rectus.” This head gives an answer to the 
 celebrated question about the form of the capuchin, and the 
 whole figure under the preceding number to that of the cut of 
 the sleeve. 
 
 7. A modern painting representing a small garden full of 
 thorns, on which St. Benedict does penance; St. Fx-anciscus 
 changes the thorns to rose-trees on the occasion of his visit to 
 Subiaco. (See pi. xxxv. on Architecture.) 
 
 Painting Z 
 
PLATE CI. 
 
 FRESCO PAINTINGS IN THE CHAPEL OF ST. SILVESTER, NEAR THE CHURCH DEI QUATTRO SANTI CORONATI 
 m ROME. GRECO-1TALI AN SCHOOL. THIRTEENTH CENTURY. 
 
 Matthias Tuhrmann gives the following account of the 
 subjects on this plate (in his “Historia sacra de baptysmo 
 Constantini,” etc.), which, with the exception of the first, all 
 relate to the histories of Pope Silvester and the Emperor 
 Constantine. 
 
 1. Christ addressing his apostles. This painting occupies 
 the end of the chapel; the following subjects are on the 
 side walls. 
 
 2. Constantine addressing a number of women, and contra¬ 
 dicting the report which had been circulated that he desired to 
 have a bath of the blood of their children to cure him of 
 his leprosy. 
 
 3. St. Peter and St. Paid appear in a dream to the Emperor 
 Constantine. 
 
 4. Ambassadors are sent by Constantine to Pope Silvester, 
 who had retired to Mount Soractc (now S. Oreste) near Rome, to 
 entreat him to return to the city. 
 
 5. The ambassadors climb Moimt Soracte, and beg St. Silves¬ 
 ter to comply with the request of the emperor. 
 
 6. The pope shows Constantine pictures of St. Peter and 
 St. Paul, whom he immediately recognises as the persons who 
 appeared in his dream. 
 
 7. The emperor receives baptism from the hands of St. Sil¬ 
 vester. 
 
 8. Constantine presents a mitre to the pope. 
 
 9. He holds the bridle of the horse on which St. Silvester 
 rides. 
 
 10. The Empress Helena finding the true cross, and the 
 miraculous cures effected by this holy relic. 
 
 11. 12. Fragments of two paintings, which appear to relate 
 to the miracles of St. Silvester. 
 
 13. Heads of the two apostles sitting next to Christ in 
 No. 1 ; they are given in the original size as a specimen of the 
 character of the drawing in these paintings. 
 
 14. Christ on the cross between the two malefactors. This 
 painting hears the date 1248, and was found in the same 
 chapel. 
 
 15. Ground plan of the Chapel of St. Silvester. 
 
 16. Six half-figures of prophets, which originally formed 
 part of the decoration of this chapel. 
 
 17. Fragments from the walls of this chapel, on which 
 traces are found of paintings of an earlier date. The subjects 
 on tliis plate, as far as No. 12, are taken from the work of 
 Tuhrmann. 
 

 PLATE CIL 
 
 FRESCO PAINTINGS EXECUTED AT ASSISI BY GIUNTA OF PISA ; IMITATION OF THE GREEK STYLE. 
 THIRTEENTH CENTURY. 
 
 1. The fall of Simon the magician. Simon was considered 
 a god, and the Romans erected a statue to him. This subject is 
 in the choir of the Church of S. Francisco, of which a plan 
 can be seen in pi. xxxvii. of the Architectural part. 
 
 2. Simon carried away by devils; principal group of the 
 preceding subject 
 
 3. The ascension of the Virgin. 
 
 4. The crucifixion, a large composition by the same artist. 
 
 5. The head of Christ, from the preceding subjects. 
 
 6. Head of the angel on the left of the cross. 
 
 7. Crucifix painted on Avood in the sacristy of the Church of 
 S“- Maria de’ Angioli at Assisi. There is a name at the foot of 
 the cross in gold letters on a red ground, which appeal's to be 
 Giunta of Pisa. This work Avas engraved Avith great care in the 
 “Prodomo delle Antiche Arti, Pisane, ed elogio di Giuna;” Pisa, 
 1790. 
 
 8. Part of another painting in the same church. 
 
PLATE CHI. 
 
 MANUSCRIPT, EXECUTED BY AN ITALIAN PAINTER, IN THE 
 TWELFTH OR THIRTEENTH CENTURY. 
 
 .MINIATURE PAINTINGS FROM A LATIN 
 GREEK STYLE. 
 
 1. This painting, which represents Christ preaching to his 
 Apostles, is from the celebrated Greek menologue already 
 quoted in pi. xxxi., xxxii., xxxiii. This subject is given on 
 this plate traced from the original, that it may be compared 
 with the following, 
 
 2. The same subject traced from a Latin manuscript ; the 
 composition is very inferior, but the imitation of the Greek 
 school is easily traced. The manuscript from which this 
 painting is taken is in the library of the Vatican, No. 39 ; it is a 
 copy of the New Testament, written on fine parchment, and 
 bound in wood, covered with red leather. A specimen of the 
 character used in the manuscript is given under the paintings 
 when compared with that used in the manuscript of the Countess 
 Matilda, given in pi. Ixvi., or with that of Peter Comestor, No. 
 927, in the library of the Vatican, pi. lxvii., we should conclude 
 that these letters were of the twelfth or early in the thirteenth 
 century. 
 
 The capital letters at the commencement of the paragraphs 
 are of the Gothic form, similar to those used in the manuscript 
 
 of Seneca, given in pi. lxxii. Some occupy a whole side, and 
 are highly ornamented ; others aie formed of figures, like the F 
 and P under No. 4. The following is a list of the other 
 subjects on this plate :— 
 
 On the third line we see Herodias after the beheading of 
 John the Baptist ; the entrance of Christ into Jerusalem ; Christ 
 preaching, and Christ baptized. 
 
 On the fourth line, the money-changers driven from the 
 temple ; Cluist disputing with the doctors ; and the manger in 
 which he was laid. 
 
 On the fifth line, Christ with Martha and Mary ; the feast 
 of the rich man—underneath the table his soul is represented 
 carried away by the devil, whilst that of Lazarus is received by 
 an angel ; the holy Women at the tomb of Christ, &c. See. 
 
 On the sixth line is the raising of Lazarus ; the last supper; 
 
 | the conversion of St. Paul ; that of the chamberlain of Queen 
 I Candace ; and the imprisonment of St. Peter and St. Paul. 
 
 The greater part of the other paintings represent symbolical 
 subjects, chiefly selected from the “ Revelations.” 
 
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PLATE CI Y. 
 
 PROOFS OF THE IMITATION OF THE 
 
 The object of this plate is to prove that the Italian school 
 was founded on the Greek, by giving a specimen of the same 
 subject painted in the two countries. 
 
 1. The Prophet Nahum; from a Greek menologue in the 
 library of the Vatican, No. 1613 ; ninth or tenth century. 
 
 2. Sacred characters, by an Italian painter of the Greek 
 school, in a Latin manuscript of the twelfth century, in the 
 library of the Vatican, No. 39. 
 
 3. Sacred characters ; from a Latin manuscript of the twelfth 
 century in the Barberini library. These figures have very little 
 of the Greek style about them. 
 
 4. St. John the Evangelist, traced from a Greek manuscript 
 of the twelfth century, No. 756 in the library of the Vatican. 
 
 5. Evangelists, executed by an Italian painter of the Greek 
 school. These figures are so very similar to the preceding that 
 they appear to be copies ; they are taken from a Latin manuscript 
 in the library of the Vatican, No. 5974, bearing the arms of 
 Urban VIII. 
 
 6. The Virgin and Child, with angels ; this composition is 
 in a Greek manuscript of the eleventh century in the library of 
 the Vatican, No. 1162. Other paintings from the same manu¬ 
 script have already been given in pi. 1. 
 
 7. The Virgin and Child, with the abbot and Cardinal 
 Oderisius at her feet. This work is an imitation of the pre¬ 
 ceding ; it is traced from a Latin manuscript of the thirteenth 
 century, No. 585 in the library of the Vatican, and contains 
 four distinct kinds of letters. 
 
 8. The Virgin on her throne, with the infant Jesus holding 
 the ring which is to be given to St. Catherine, who stands on her 
 right ; St. Margaret stands on her left. 
 
 This subject is an evident imitation of the Greek original in 
 No. 6, still weaker in execution than No. 7 ; it is traced from a 
 Latin manuscript of the thirteenth century in the library of the 
 Vatican, No. 4763. This manuscript contains one miniature 
 painting, with a calendar for ten months only. 
 
 GREEK SCHOOL BY ITALIAN ARTISTS. 
 
 9. Christ sitting with a cross in his hand ; this painting is 
 taken from a manuscript in the library of the Vatican, 
 No. 39. 
 
 10. Christ sitting with an open book in his hand ; this paint¬ 
 ing is taken from a manuscript in the Barberini library, already 
 quoted in No. 3 ; it is in imitation of the Greek school. 
 
 11. Jesus shows the Pharisees the judgment on adulterers; 
 from the manuscript quoted in No. 2. 
 
 12. A similar composition, in which a bishop is blessing and 
 handing a bull to some person, from the Latin manuscript 
 quoted in No. 3 ; the arrangement of the figures is inferior to 
 the preceding. 
 
 13. The adoration of the magi, from the Greek menologue 
 quoted in No. 1. 
 
 14. The same subject, from the Latin manuscript of the 
 twelfth century quoted in No. 2. 
 
 15. The adoration of the magi ; this composition, which is 
 inferior to Nos. 13 and 14, forms a part of the fresco painting in 
 an old monastery, the mins of wliich are near the Church of 
 S“- Agnese outside the walls of Rome. This painting, with 
 others from the same spot, has already been given in pi. cxxxv. 
 
 16. The murder of the innocents, from the Greek menologue 
 quoted in No. 1. 
 
 17. The same subject, from the Latin manuscript No. 39 in 
 the library of the Vatican ; this composition is inferior to the 
 preceding. 
 
 18. Jesus washing the feet of the apostles, from the same 
 manuscript. 
 
 19. The same subject painted in fresco in the small Church 
 of St. Urban alia Caffarella near Rome, in the fifteenth century, 
 executed by a Greek painter, or an Italian pupil 
 
 These two last works, by imitators or pupils of the Greek 
 school in Italy of the eleventh and twelfth centuries, unite all 
 the faults which characterize the last steps of the decline 
 of art. 
 
PLATE CV. 
 
 Further proof of the imitation of the creek school in various kinds of painting, 
 DURING THE WHOLE PERIOD OF THE DECLINE. 
 
 1. St. Luke, from a Greek manuscript in the library of the 
 Vatican. (See No. 4.) 
 
 2. The head of St. Peter, traced from the same manuscript 
 
 3. St. Paul, from the same. 
 
 4. Head of St. John, traced from the same manuscript 
 
 The Greek manuscript from which these four subjects are 
 
 taken is in the library of the Vatican, No. 1208. It is in 
 Quarto, and contains the Acts of the Apostles, &c. This valuable 
 manuscript belonged to Charlotte, queen of Cyprus, who he- 
 queathed it to the library of the Vatican. It bears the arms of 
 this princess, with those of Pope Innocent VIII., diming whose 
 reign she died at Rome. 
 
 5. The Virgin and Child, with four saints. This painting is 
 executed in fresco, in the ancient subterranean Church of 
 S. Silvestro a’ Monti at Rome. (Ristretto, etc., sulla chiesa 
 de’ SS. Silvestro e Martino a’ Monti, dal P. Filippini; Roma, 
 1631.) 
 
 6. A kneeling figure holding a crown ; a fresco painting 
 from the Church of S. Giovanni alia porta Latina at Rome. 
 
 7. Two saints, painted in fresco in the ancient sacristy of 
 the Church of St. Paul outside the walls of Rome. 
 
 8. S*- Cecilia; fresco painting from the catacombs of S. 
 Lorenzo at Rome. 
 
 9. S*- Catarina; fresco painting from the catacombs of St. 
 Januarius at Naples. 
 
 10. A prophet, in distemper, on a gold ground, from Agin- 
 court's collection. The style resembles that of the Greek 
 manuscripts of the tenth and eleventh centuries. 
 
 11. The Virgin and Child, half length. This painting on 
 wood is one of those attributed to St. Luke, and is reverentially 
 preserved in the Church of S“- Maria in Cosmedino in Rome. 
 
 12. Two figures in mosaic work, from S ,n - Cecilia in Traste- 
 vere at Rome, where they stand on the right hand of Jesus 
 Christ. The one with the glory represents S la - Agatha, the 
 other Pope Paschalis I., with a model of the church in his hand, 
 which he had rebuilt about the year 820. (Ciampini, Vetera 
 Monimenta, vol. ii., pL lii.) 
 
 13. Two saints, painted in fresco, in the small Chapel “ de’ 
 sietté dormienti,” near the gate of St. Sebastian in Rome. 
 
 14. S. Francisco d’Assisi, from a painting in distemper on 
 wood, thirteenth century, in the Church of Sargiano near 
 Arezzo, attributed to Margaritone, a painter of this town of the , 
 Greek school. (Etruria Pittrice, vol i., pi. vii.) 
 
 15. Samuel anointing Saul. This painting is from a Greek 
 manuscript in the library of the Vatican, No. 1, already quoted 
 in pi. lxi. 
 
 16. The annunciation, from a painting on wood in water 
 colours. Underneath is St. George, a saint greatly honoured in 
 the east. 
 
 17. Christ on his throne, surrounded by saints; a pain tin» 
 on wood in the museum of the Collegio Romano. 
 
 18. The birth of John. This painting forms one of twelve 
 compartments surrounding a painting on wood in the Church of 
 S- Petronilla at Sienna, a work of the twelfth century. (Lettere 
 Sanesi, vol. L, p. 214.) 
 
 19. A Greek bishop, executed in needlework on a very 
 ancient stole, preserved in the sacristy of the Church of St. Peter 
 in the Vatican. Anastasius frequently mentions this kind of 
 stole when speaking of the ornaments worn by the early popes. 
 
 20. St. John preaching in the wilderness, another of the 
 compartments surrounding the painting on wood already men¬ 
 tioned. (Lettere Sanesi.) 
 
 21. The crucifixion, from a drawing by Andrea Tafi, a 
 painter of the thirteenth century, and pupil of the Greek 
 master at Florence ; he has divided the feet of Christ like his 
 master. 
 
 22. The interment of Christ, part of a large painting in 
 distemper on wood, painted in the Cathedral at Sienna, by 
 Ugolino, a Sienese artist of the thirteenth and fourteenth cen¬ 
 turies. This master, says Vasari, “tenne sempre in gran parte 
 la maniera Greca.” 
 
 23. The same subject, painted in fresco by another master 
 in the thirteenth century. 
 
 24. Christ in the act of blessing. This figure is taken 
 from a mosaic in the façade of S 1 "' Maria Maggiore at Rome. 
 The name of the artist is given at the foot ; “Philifpus Rusuti 
 
 FECIT HOC OPUS.” 
 
 25. Medallion of a bishop and a saint holding a flask of 
 ointment, with an eagle, the symbol of St. John; a fresco 
 painting on the tribune in the Church of S. Stefano at Bologna, 
 a plan and section of which is given in pi. xxviii. of the part on 
 Architecture. 
 
 26. Christ on his throne, with the Virgin and St. Mark, 
 from a mosaic on the inner arch of the entrance of the Church 
 of St. Mark at Venice. (Zanetti, Delle Pittura Veneziana, 
 p. 562.) 
 
 27. St. Spiridon, bishop of Cyprus, from a small painting in 
 distemper on wood ; although of the modem Greek school, it 
 shows a servile imitation of the rules of the ancient, which the 
 Italian painters considered themselves bound to obey long after 
 the style of the Greek school of the twelfth century had been 
 changed. 
 

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PLATE CVL 
 
 HATCHED PAINTINGS ; ANOTHER IMITATION OF THE GREEK MANNER, EVEN TO ITS MECHANISM. 
 
 1. The Virgin and Child. This ancient fresco painting is in 
 the Church of S. Lorenzo outside the walls of Rome. 
 
 2. The same subject, from the Greek monologue in the 
 library of the Vatican. (See plates xxxi., xxxii., and xxxiii.) 
 
 3. Two figures from the ancient fresco painting in the 
 Church of S. Lorenzo; the various ornaments are here seen 
 with which the ancient Greek painters decorated the dresses of 
 saints. 
 
 4. Christ surrounded by saints, from a fresco painting at the 
 same place. 
 
 5. St. Ephraim writing Ins works. This painting, from a 
 manuscript of the eleventh century in the library of the Vatican, 
 has been already given in plate xlix.; we repeat it here as 
 an example of the kind of painting called by the Italians 
 “ a tratti ,” or “ trattegiate ,” with lines or hatchings arranged 
 in the direction of the folds. 
 
 6-9. Ancient fresco paintings in the arch and on the 
 
 walls of the portico of the Abbey of the Three Fountains 
 near Rome. 
 
 10. Drawings of one of the four angels, in larger size. 
 
 11. Half-length figure of .Christ, from a Greek manuscript. 
 
 13. Christ seated. This figure is from a Greek painting on 
 
 wood m the Church of S. Stefano rotondo at Rome, already 
 given in plate lxxxv. We repeat it here as an example of 
 hatched painting. 
 
 13. The Virgin on her throne with the infant Jesus, a 
 painting on wood by Guido of Sienna; it is in the Church 
 of S. Domenico at Sienna, and is given in large sire on the 
 following plate. 
 
 14. The same subject, painted in distemper on wood by 
 Cimabue. It is executed by hatchings in the manner of the 
 Greek painters, his masters; he had not then dared to wander 
 from it, as he afterwards did, as may he seen in the picture from 
 the S'“- Maria Novella, pi. cviii 
 
PLATE CVII. 
 
 PAINTINGS IN DISTEMPER ON WOOD BY GUIDO OF SIENNA. THIRTEENTH CENTURY. 
 
 COMMENCEMENT OF THE REVIVAL OF ART. 
 
 1. The Virgin and Child from a painting in the Church of S. Domenico at Sienna, executed by Guido of Sienna, 
 
 as shown by the distich underneath Me Guido de Senis diebus depi.nxit amenis,—Quem Christus lenis 
 
 nullis velit agere penis. Anno D. MCCXXI.” The figure of the Virgin is of gigantic size ; behind the throne 
 on either side are three angels praying. There is a full account of this painting in the “ Lettere Sanesi, vol. i., p. 247 , 
 and vol. ii., p. 270. 
 
 2. Head of the i nf ant Jesus traced from the original. 
 
 3. The date 1221 traced as a specimen of the character ; this work is remarkable in the history of art, as it proves, by the 
 
 date, that the school of Sienna was in advance of that of Florence. 
 
PLATE CY III. 
 
 A PAINTING IN DISTEMPER ON WOOD BY CIMABUE OF FLORENCE, THIRTEENTH CENTURY. 
 
 1. The Virgin on her throne with the infant Jesus. This subject is in the Church of S'" Maria Novella at Florence, and 
 is painted on a gold ground. It is by Cimabue, whose name is celebrated as having assisted the revival of art, by 
 deviating from the routine of the Greek school, of which he was a pupil. This painting formed quite an epoch m 
 the history of art, from the universal enthusiasm which it excited; it obtained the honour of a visit to the artist by 
 Charles of Anjou, king of Naples. 
 
 2. Head of one of the angels in the preceding picture, traced from the original. 
 
 Fainting B B 
 
PLATE CIX. 
 
 PAœ ™ GS ' N S " MARIA AT FLORENCE, ATTRIBUTED TO OREEK ARTISTS 
 
 MASTERS OF CIMABUE. TWELFTH AND THIRTEENTH CENTURIES, 
 
 1. The birth „f Christ ; this painting was in good preservation in 1,79. in the subterranean Chapel of S- Maria Novella at 
 Florence. It is attributed to one of the Greek painters, of whom Chnabue was a scholar, by Vasari, but recent 
 discoveries make it probable that all these paintings belong to a later period. 
 
PLATE CX. 
 
 FRESCO PAINTINGS BY CIMABUE, IN THE CHURCH OF S. FRANCISCO AT ASSISI. 
 THIRTEENTH CENTURY. 
 
 1. Battle and fall of the angels. 
 
 2. God creates man and gives him a soul. 
 
 3. The birth of Christ. 
 
 4. The interment of Christ. 
 
 •5. Head of the Virgin from the preceding composition. 
 
 6. Figure of an angel, of colossal size. 
 
 7. The resurrection of Christ. 
 
 It is most probable that all these paintings are by Cimabue; the drawings were made on the spot by an 
 English artist of the name of Otley. 
 
 5. Portrait of S. Francisco, traced from a painting attributed to Cimabue. in the Church of S«- Croce 
 
 at Florence. 
 

 PLATE CXI. 
 
 PAINTINGS ON WOOD IN THE GRECO-ITALIAN STYLE. 
 
 1. Christ on the cross, with the Heavenly Father above; the three Marys are on one side, with St. John and the Roman 
 soldier on the other. This painting is in distemper on a gold gronnd. On the upper part we hnd the following 
 inscriptionThe Cross of Jesus Christ;” between the feet of the soldier, “By the hand of Theodoras, servant of 
 Jesus Christ;” both inscriptions are repeated under the painting. 
 
 2. The Heavenly Father, traced from the original. 
 
 3. The heads of St. John and the soldier, traced from the original. 
 
 4. The three Marys, traced from the original. 
 
 5. The Virgin and Child, from a small painting in Agincourt’s collection 
 
 6. The infant Jesus, traced from the preceding. 
 
 7. Head of the Virgin, traced from the same painting. 
 

SECOND PART. 
 
 REVIVAL OF THE ART OF PAINTING IN THE 
 FOURTEENTH CENTURY. 
 
 FIRST PERIOD. 
 
 PLATE CXIV. 
 
 PAINTINGS IN DISTEMPER ON WOOD BY GIOTTO, IN S TA - CROCE AT FLORENCE. 
 
 1. The transfiguration; one of the twenty-six paintings by 
 the celebrated Giotto in the Franciscan Church of S'*- Croce at 
 Florence. Twenty of these paintings are still preserved in the 
 Academy at Florence, and two others are in the Museum at 
 Berlin. 
 
 2. St. Francis ascending to heaven in a fiery car. 
 
 3. St. Francis in a trance before the crucifix receiving scars 
 of the wounds of Christ. 
 
 4. The Virgin crowned in Heaven by Jesus Christ; this 
 painting is in the Baroncelli Chapel, in S la - Croce, in very good 
 
 preservation. It is considered one of the best works of Giotto, 
 and is remarkable from having his name underneath. 
 
 5. Head of the Virgin from the preceding, traced from the 
 original ; a further account of these pictures can be found in 
 the following:—“Notizie delle Chiese Fiorentine, etc.” P. Riclia. 
 
 6. The interment of the Virgin; a small and highly finished 
 painting which was in the Church of Ogni Santi at Florence, 
 in the time of Vasari ; under the painting were the following 
 words:—“Opus Magistri Jocti.” (Vasari, Ibid. Etruria Pit- 
 trice, vol. i., pi. ix.) 
 
POPE BONIFACE VIII. PUBLISHING THE BULL OF THE FIRST JUBILEE ; FRESCO PAINTING BY GIOTTO. 
 FOURTEENTH CENTURY. 
 
 1. Pope Boneface VIII. publishing the bull by which he established the Jubilee in 1300 ; a fresco painting by Giotto, 
 formerly in the portico of the Church of S. Giovanni in Laterano, but now in the interior of the basilica over the 
 mausoleum of this pope. 
 
 !. Two heads from the preceding subject, traced from the original. 
 
 5. A medal of the pontificate of Boniface VIII. ; on the reverse are the heads of St. Peter and St. Paul. 
 
r,w. 
 
PLATE CXVI. 
 
 FRESCO PAINTINGS BY GIOTTO IN THE CHURCH OF S. FRANCISCO AT ASSISI. FOURTEENTH CENTURY. 
 
 1. St. Francis preaching. 
 
 2. St. Francis restoring a crowned head to life. 
 
 3. Three heads from the preceding, given in larger size. 
 
 4. Demons, from a composition representing St. Francis 
 driving the devil out of the town of Arezzo. 
 
 5. Angels and cherubim, painted in imitation of stucco in 
 the upper part of the Church of S. Francisco. 
 
 6. St. Francis praying on the summit of Mount Vemia ; in 
 the foreground a peasant is quenching his thirst at a spring. 
 
 7. Apotheosis of St. Francis. 
 
 8. St. Francis cures an inhabitant of Lerida, in Catalonia, 
 who has been given over by the doctors.” 
 
 9. Two heads from the preceding painting. 
 
 10. The head of the peasant at the spring in No. 6; Vasari 
 particularly praises this figure in his life of Giotto. 
 
 11. St. Francis restores a dying woman sufficiently to enable 
 lier to confess before death. 
 
 12. The burial of St. Francis ; this ceremony is thus described 
 in a work entitled “ Sti Francis ciassisimatis .... vita, per Sanc¬ 
 tum Bonaventuram, S. R. E. cardinalem,” &c.; Roma, 1710:— 
 " Turbæ quæ convenerant, acceptis aborum ramis, et cereorum 
 multiplicatis luminibus, cum hymnis, et canticis sacrum corpus 
 ad civitatem Assisii detulerunt ; transeuntes vero per ecclesiam 
 Sti Damiani, in qua virgo .... Clara inclusa cum virginibus 
 morabatur .... aliquantulum subsistentes, sacrum corpus .... 
 videndum et osculandum sacris illis virginibus obtulerunt.” 
 
PLATE CXVII. 
 
 PAINTINGS IN DISTEMPER ON WOOD, BY PUCCIO CAPANNA, PUPIL OF GIOTTO. 
 
 1. The Virgin and Child, with St. Francis, St. Laurence, St. Anthony, and St. Stephen on the left, and St. Clara, St. 
 Ursula, St. Catherine, and the Magdalen on the right ; the annunciation occupies the upper, and a skeleton with worms 
 the lower parts of the painting. 
 
 2. The heads of the Virgin and Child, traced from the original. 
 
 3. Heads of St. Clara, St. Catherine, and the Magdalen. 
 
 4. Heads of St. Francis, St. Anthony, and St. Stephen. 
 
PLATE CXVIII. 
 
 PAINTINGS BY TADDEO GADDI, AND OTHER PAINTERS OF THIS FAMILY. THIRTEENTH 
 AND FOURTEENTH CENTURIES. 
 
 1. The raising of Lazarus; a fresco painting at Assisi by Giovanni da Milano, pupil of Taddeo Gaddi. 
 
 2 . Christ crowning the Virgin in heaven ; mosaic in the Church of S'*- Maria del fiore at Florence, by Gaddo Gaddi, the 
 head of a celebrated family, and cotemporary of Cimabue. 
 
 3. Three fathers of the church, from a painting in the chapter-room of the Church of S“- Maria Novella at Florence. 
 
 4. One of the heads of the preceding, traced from the original. 
 
 5. Two figures from a composition by Agnolo Gaddi, son of Taddeo, painted in fresco in the altar of the Church of 
 S 1 *- Croce at Florence. 
 
 6. St. Helena finding the true cross ; a fragment from the same painting. 
 
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PLATE CXIX.— (Continued.) 
 
 18. Punishment of hypocrites, one of whom is crucified : 
 
 A gli ocelli mi corse 
 Un crocifisso in terra, con tre pali. 
 
 Ibid, canto xxiii., v. 110, 111. 
 
 19. Perfidious advisers plunged into a flaming ditch : 
 
 Là entro si martira 
 Ulisse e Diomede 
 
 20. Divers punishments inflicted upon scandalous persons ; 
 one holds his head in his hand : 
 
 Un busto senza capo andar 
 E '1 capo tronco tenea per le chiome 
 Pesol con mano a guisa di lanterna. 
 
 Ibid, canto xxviii., v. 119-1)22. 
 
 21. Robbers and other criminals tormented by a centaur 
 armed with serpents: 
 
 Un centauro pien di rabbia, 
 
 Maremma non cred'io che tante n'abbia 
 Quante bisce egli avea sù per la groppa. 
 
 Ibid, canto xxv.. v. 17, 19, 20. 
 
 22. Alchemists and quacks; two are distinguished sitting 
 back to back, prey to a leprosy, which is devouring them : 
 
 Io viddi duo sedere a se appoggiati 
 Come a scaldar s'appoggia tegghia a tegghia. 
 
 Ibid, canto xxix., v. 73, 74. 
 
 23. Well of ice, for traitors and the ungrateful, guarded by 
 giants : 
 
 La proda che '1 pozzo circonda 
 Torregiavan di mezza la persona 
 Gli orribili giganti 
 
 Ibid, canto xxxL, v. 42-44. 
 
 24. Pluto in the midst of a glacier devouring the damned : 
 
 Lo mperador del doloroso regno 
 Da mezzo '1 petto uscia fuor della ghiaccia. 
 
 Vidi tre facce alla sua testa. 
 
 Da ogni bocca dirompea co’ denti 
 Un peccator a guisa di maciulla. 
 
 Ibid, canto xxxiv., v. 28-50. 
 
 25. The holy city of Jerusalem. 
 
 26. Angels taking souls out of purgatory ; a subject painted 
 by Orcagna, in the Strozzi chapel. 
 
 27. Two blessed souls conducted to heaven by an angel; 
 another subject painted by Orcagna. 
 
 PLATE CXX. 
 
 RUNIC PAINTING IN DISTEMPER ON WOOD. 
 
 This painting fell into Agincourt’s possession by accident ; both the author and the period of its execution are unknown. 
 There are Runic inscriptions at the sides, which from want of space are placed underneath on this plate, with corre¬ 
 sponding numbers to mark their situations. The Latin translations are by Mickiewicz. 
 
 1. Procédé in nomine Dei, ecce pocuhm Domini cum vino sincero,fac commixtionem. 
 
 2. Et fugavit inimicos suos retro. 
 
 3. ,0 Amici ! et fortitude men adjuvabit me, uti ligno vulncrabit Dei genitrix Maria intemerala. 
 
 4. Fen it Dem a Sione, et vox Jerusalem, etjudicavit populum in valle. 
 
 5. Concutiens terram, commovens mare, sublevans interiora, sustinens abysstim. 
 
 6. Invidiator boni, instillator mali, adferens mortem, conducens in vallem perditionis. 
 
 7. Volucres cœli, et animalia terree, venite comedere corpora mortuorum. 
 
 8. Unigenitus Jilius, verbum divinum, immortalis et abceternus est, et consubstantialis est Jilius Palri. 
 
 An alphabet of the Runic character is given at the bottom of the plate. 
 
 Painting E E 
 
PLATE CXXI. 
 
 FRESCO PAINTINGS BY GERARDO STARNINA IN THE CHURCH DEL CARMINE AT FLORENCE. 
 FOURTEENTH CENTURY. 
 
 1. St. Jerome ou his death-bed, giving the last instructions to his disciples. The figure at the foot of the bed with the 
 capuchin is intended to represent the artist Gerardo Stamina. 
 
 2. The head of Gerardo Stamina, from the preceding. Vasari mentions that lie was a pupil of Antonio of Venice, was 
 bom in 1354, and died in 1403. 
 
 3. The death and interment of St Jerome. (Vasari, vol. i., p. 150. Iticha, Notizie delle Chiese Fiorentine, vol. x., p. 43.) 
 
PLATE CXXII. 
 
 FRESCO PAINTING BY SIMON MEMMI OF SIENNA IN THE CHAPTER-HOUSE OF S TA - MARIA NOVELLA 
 AT FLORENCE. FOURTEENTH CENTURY. 
 
 1. St. Dominic and his followers preach against heresy. In the lower part of the composition heresy is represented by 
 wolves endeavouring to devour the flock, which is protected by spotted dogs of black and white, the colours of the 
 Dominican dress—( Domini-canes.) 
 
 2. The head of a young woman, from the preceding. This portrait is considered by Vasari to have been that of the 
 celebrated Laura of Petrarch, but as Simon Memmi only became the friend of Petrarch and his beloved several years 
 after the completion of this picture, it is more probable that it was a portrait of the “ Fiammetta” mentioned by 
 Boccacio ; the flame rising from her bosom supports this supposition. 
 
PLATE CXXIII. 
 
 ENAMEL PAINTING ON A RELIQUARY IN THE CATHEDRAL OF ORVIETO. FOURTEENTH CENTURY. 
 
 1. A silver reliquary weighing six hundred pounds, made and 
 decorated with enamel paintings by Ugolino Vieri, a goldsmith 
 and painter of Sienna. The subjects nearly all relate to mira¬ 
 cles performed at Bolsena. 
 
 2. Miracle at Bolsena. As a priest of this town, whilst 
 consecrating the host, doubts the real presence, drops of blood 
 issue from it, sprinkling the cloth on the altar. 
 
 3. The priest and his assistant, from the preceding. 
 
 4. The unbelieving priest acknowledges his error to Pope 
 Urban IV. in the presence of the cardinals. 
 
 5. The pope commands the Bishop of Orvieto to remove the 
 cloth sprinkled with the blood of Jesus Christ. 
 
 6. The bishop removes the cloth from the altar of Bolsena. 
 
 7. Ile cames it to Orvieto, accompanied by all his clergy. 
 
 8. The pope and cardinals leave Orvieto, and go as far as the 
 bridge of Rio Chiaro to receive the holy cloth. 
 
 9. It is publicly shown to the people. 
 
 10. The pope establishes the feast of Corpus Domini. 
 
 11. Vaiious figures from the preceding in larger size. 
 
 The reader who wishes for further particulars of this reli¬ 
 quary will find them in the following works :—“ Pennazzi, Istoria 
 dell’ Ostia di Bolsena;” Montefiascone, 1731. P. della Valle, 
 “ Istoria del duomo di Orvieto Roma, 1791. The subjects on 
 this plate are taken from the last-mentioned work. 
 
PLATE CXXI Y . 
 
 TRIPTYOHON PAINTED IN DISTEMPER ON WOOD. FOURTEENTH CENTURY. 
 
 1. The Virgin and Child, St. Peter, and St. Paul, with two saints: this painting occupies the centre of the triptychon in 
 the collection of Cardinal Borgia at Velletri. 
 
 2. Heads of St. Peter and St. Paul, traced from the originals. 
 
 3. The date, 1336, on the foot of the throne ; the letters at the sides appear to be the monogram of the painter. 
 
 4. John baptizing Jesus in the Jordan ; right wing of the triptychon. 
 
 5. Christ taken from the cross ; left wing of the triptychon. 
 
 6. The Virgin and the angel Gabriel ; these two figures, from Nos. 4 and 5, are traced from the originals. 
 
 Painting F F 
 
PLATE CXXY. 
 
 VARIOUS FRESCO PAINTINGS BY PIETRO CAVALLINI, AT THE CHURCH OF ST. PAUL OUTSIDE THE WALLS OF 
 ROME, OF THE FOURTEENTH CENTURY. 
 
 1. Eight half-length figures of saints, painted on a cross pre¬ 
 served in the sacristy of the Church del Sacro Speco, hospital 
 of the Abbey of Subiaco near Rome ; they are traced from the 
 originals. 
 
 2. Inscription on the cross in red letters, giving the date and 
 name of the painter, “ Euticio” :— 
 
 2 nno Domini mcccm'biii. ( 30 c oputf fecit fieri fratcr Jr.tmiscuo 
 Dr s?mito 3Dcat*\3'to Dc .Oitrgio, moiucua mona^tcjcii ê’ubla; 
 rengia . . . fjoc opus* feetr jïlngi.stcr ©uticio. 
 
 3. Part of a large fresco painting of the crucifixion, in the 
 Church of S. Francisco at Assisi, attributed to Pietro Cavallini 
 of Rome, the pupil and assistant of Giotto. 
 
 4. A fragment of the same subject representing angels above 
 the cross ; to give these figures the appearance of flying, the 
 
 I example of some of the older masters has been followed, by re¬ 
 presenting clouds around them. (Vasari, Vite de’ Pittori, vol. i., 
 p : 98.) 
 
 5. The annunciation ; a fresco painting by Cavallini, under 
 j the portico of the Church of S*- Maria in Trastavere at Rome. 
 
 , (Vasari, Ibid, p. 97.) 
 
 6. The annunciation, by the same master, in the same church. 
 
 7. The brothers of Joseph consulting how they shall get rid 
 j of him. 
 
 8. Moses and Aaron change their wands into snakes, in the 
 presence of Pharaoh. 
 
 9. After destroying the Egyptians, Moses travels to the land 
 of Midian. These three last subjects are selected fr om the frescos 
 
 ! by Cavallini in the nave of the Church of St. Paul outside the 
 walls of Rome. 
 
PLATE CXXYI. 
 
 FRESCO PAINTINGS BY STAMMATICO AND OTHER MASTERS AT SDBIACO. FOURTEENTH CENTURY. 
 
 1. Fresco painting on the arch of the Chapel of Lorenzo 
 il corazzato in the Church of the Sacro Speco at Subiaco. 
 This chapel is given in plate xxxr. of the part on Architecture. 
 
 2. The Virgin on her throne, with saints and angels, Christ 
 on the cross, St. Benedict, St. Placidus, and St. Maums ; from 
 the same chapel. 
 
 3. The shepherds, the manger, the magi ; these three 
 subjects are on the wall opposite the entrance of the same 
 chapel. 
 
 4. Death and ascension of the Virgin, from the same chapel. 
 
 5. Four saints and a cross, with the name of the painter 
 underneath ; from the same chapel. 
 
 6. Stammatico greeo pictor p. This inscription, giving 
 the name and country of the painter, was traced from the 
 original by Agincourt. 
 
 7. Paintings in the same chapel by another master, near 
 the steps leading to the church. (Architecture, pi. xxxv.) 
 
 8. The flight into Egypt, from the same. 
 
 9. Herod commands the murder of the Innocents ; painting 
 in the Church of the Sacro Speco. 
 
PLATE C'XXVIl. 
 
 PAINTINGS IN DISTEMPER ON WOOD BY VITALIS OF BOLOGNA. FOURTEENTH CENTURY. 
 
 The Virgin and Child, with St. Agatha, St. Catherine, St. Agnes, and St. Apollonia. 
 
 This valuable painting is known by the name of “ La Madonna de’ denti” at Bologna ; it is so called from the open 
 mouth of the Virgin showing the teeth. It is in a small church, called S" 1 - Maria de’ denti. Underneath is the 
 following inscription :— “Vitalis fecit hoc opus, 1345.” Vitalis was a pupil of Franco of Bologna ; he finished his 
 pictures so highly, that they have the appearance of miniature paintings. (Malvasia, Felsina Pittrice, vol. i., p. 16. 
 Baldinucci, voL i., p. 202.) 
 
PLATE CXXVIII. 
 
 PAINTINGS IN DISTEMPER ON WOOD BY JOHN OF PISA AND ALLEGRETTO NUCCI. 
 THE END OF THE FOURTEENTH CENTURY. 
 
 1. This triptychon is in the hospital of the Camaldules, alia 
 lungara, near the Salviati Palace ; it is over the altar of a small 
 oratory. Underneath is the following inscription :—“ Alle- 
 grittus Nutiüs me pinxit. A. MCCCLXV.” (Lanzi, Storia 
 pittorica dTtalia, vol. ii. ; edit, de Bassano, 1809.) 
 
 2. Head of a saint from one of the wings of the triptychon, 
 traced from the original. 
 
 3. The date 1365, traced from the original as a specimen of 
 the lettering. 
 
 4. The Virgin and Child, with St. Agatha, St. Stephen, 
 St. Francis, and others : there are a number of small subjects 
 relating to the history of St. Stephen which form a border, and 
 under the Virgin the name of the painter is given, John of Pisa. 
 This painting is in the collection of Cardinal Zelada at Rome. 
 
 5. The figure of the prefect commanding the death of 
 St. Stephen, from one of the small compositions. 
 
 6. “ De Pisis pinxit,” part of the name inscribed of John 
 of Pisa ; this master is very little known. 
 
 Painting G G 
 
PLATE CXXIX. 
 
 FRESCO PAINTINGS ON THE TABERNACLE OF THE BASILICA OF ST. JOHN LATERAN AT ROME. 
 
 FOURTEENTH CENTURY. 
 
 1. The Virgin and Child blessing a kneeling figure, probably the person for whom the picture was painted; two angels 
 stand behind the throne. 
 
 2. The annunciation. 
 
 3. The Virgin crowned in heaven by Jesus Christ. 
 
 4. The head of the Virgin traced from the original of No. 1. These frescoes are by Benia, a painter of Sienna, who 
 flourished during the latter part of the fourteenth century ; they have been so frequently retouched, that the 
 original character is in a great measure lost. (Vasari, vol. i., p. 135. Lettere Sanesi, vol, ii., p. 120.) 
 
PLATE CXXX. 
 
 PAINTING IN DISTEMPER ON WOOD BY COL-ANTONIO DEL FIORE, AT NAPLES. 
 FOURTEENTH CENTURY, 
 
 1. The Abbot St. Anthony with cherubim and angels. This painting is in the Church of St. Antonio del borgo at Naples. 
 
 2. The inscription under the painting gives the date 1371, and name of the painter Col-Antonio del Fiore. He was a 
 painter of some note during parts of the fourteenth and fifteenth centuries; his works have a thick kind of varnish 
 
 over them. 
 
PLATE CXXXI. 
 
 A PAINTING IN DISTEMPER ON WOOD BY COL-ANTONIO. FOURTEENTH CENTURY. 
 
 1. The head of the Abbot St. Anthony, traced from the original of the preceding plate. 
 

PLATE CXXXII1. 
 
 PAINTINGS IN DISTEMPER AND IN FRESCO, BY THOMAS AND BARNABAS OF MUTINA OR MODENA. 
 FOURTEENTH CENTURY. 
 
 1. An altar-piece in three compartments, by Thomas of 
 Mutina or Modena. The centre compartment represents the 
 Virgin, with the infant Jesus on lier knee, playing with a small 
 dog ; on the right is St. Wenzelslaus, king of Bohemia, holding 
 a banner in one hand and the hilt of his sword in the other ; on 
 the left is St. Dalmatius, an apostle of Bohemia, bearing a 
 lance and a shield, with an eagle on it ; these three half-length 
 figures are painted on a gold ground, with ornaments in relief. 
 The following Latin distich, in Gothic letters, is under the 
 painting :— 
 
 0ui£ opus fjoc finjeit ? Chômas he iHutina piurit 
 0unlc lubes, lector, 33ariSini filiuS auetor. 
 
 This painting, which was found in the church of the Castle of 
 Karlstcin near Prague in Bohemia, is now in the Imperial 
 Gallery at Vienna. It gained considerable celebrity in conse¬ 
 quence of the author of the catalogue of this collection, 
 Christian von Mechel, having described it as an oil painting, 
 executed in 1297 by a Bohemian nobleman called Thomas von 
 Muttersdorf. Had this been really the case, it would have 
 given this painter precedence of the Brothers van Eyck, to whom 
 the discovery of oil painting has been generally attributed. The 
 assertion is, however, refuted by P. Federici in his “ Memorie 
 Trevigiano,” vol.i., pp. 51, 58, 65, 70,186, 187. The Castle of 
 Karlstein was built by the Emperor Charles IV., and splen¬ 
 didly decorated about the middle of the fourteenth century. 
 
 2. Fresco paintings by Thomas of Mutina; these three 
 subjects are selected from among forty others, in the chapter- 
 room of the Dominican Monastery of St. Nicolo, representing 
 the celebrated men of that order. The first of the three is the 
 portrait of Brother Hugo of Biliom, sixth cardinal of the order 
 
 of preaching monks, and a celebrated theologian ; the second 
 portrait is that of Friar Bernard of Transverse in the province of 
 Toulouse, a zealous preacher ; the third portrait is that of Friar 
 Robert, an Englishman and learned theologian, bishop of Porto 
 and fourth cardinal of the Dominican order. The inscription 
 underneath in Gothic letters, of which we have traced some as 
 a specimen, is in the chapter-room of the monastery. It gives 
 the date of the work with the name of the painter and the 
 person for whom it was executed :— 
 
 3mto Domini mcccltt. Prior CatbisinuiS orbinio prac* 
 bientorum bepingi fecit istub cnpitulum, ct Cfjomas pictor 
 be iHutina pinrit istub. 
 
 (Memorie Trevigiano, voL i.) 
 
 3. A painting on wood by Barnabas of Mutina or Modena, 
 divided into four compartments, on which the following subjects 
 are represented :— 
 
 (1.) The Virgin crowned in heaven by Jesus Christ. 
 
 (2.) Christ on the cross in the arms of God, with the four 
 Evangelists, the Virgin, and St. John. 
 
 (3.) The Virgin and Child. 
 
 (4.) The crucifixion. 
 
 4. Barnabas de Mutina pinxit, 1374. This inscription at the 
 foot of the throne of the Virgin is traced from the original. 
 To complete the notice of the ancient masters of the school of 
 Modena, we would observe that there is a painting in the 
 Church of the Madonna de Castignana in the diocese of 
 Abruzzi, bearing the date 1237, and the name of Armaninus of 
 Mutina, a master previously unknown. 
 
 5. Various figures and heads traced from the originals of 
 No. 3, a painting by Barnabas of Mutina. 
 
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PLATE GXXXIY. 
 
 A TRIPTTCHON PAINTED IN DISTEMPER ON WOOD, AT THE COMMENCEMENT OP THE 
 FIFTEENTH CENTURY. 
 
 This triptychon is in the cathedral at Naples, on the altar of the ehapel of the anoient and celebrated family of Minutolo 
 It was bequeathed by Cardinal Enrico Minutolo, archbishop of Naples, who died in 1412. A deiailed account of this 
 
 chapel can be found in the ■■ Discorso istorico della Capella de' Signori Minutoli,” etc., by Benedetto Sersale ; Napoli 
 1745, p. 55. ’ 
 
 „. 4 
 
PLATE CXXXY. 
 
 FRESCO PAINTINGS IN S TA AGNESE OUTSIDE THE WALLS OF ROME. FIFTEENTH CENTURY. 
 
 These paintings arc in a ruinous building, which originally formed part of the Convent of S u Agnese ; it is supposed to 
 have been a dormitory, the walls of which were decorated without any complete design. There are passages of Scripture 
 on the medallions, and on the tree with the crucifix, also the remains of two inscriptions, mentioning that these 
 paintings were executed by command of Constantia, abbess of the convent, dated 1454 and 1456. The frieze, with 
 festoons on the lower part of the plate, is in very good taste. The arms were probably those of the Abbess Constantia. 
 
T.»-, t'.'OCX VI. 
 
PLATE CXXXYI. 
 
 FEESCO PAINTING IN THE CHUBCH OF S. FRANCISCO AT BOLOGNA. FIFTEENTH CENTURY. 
 
 St. Bernard of Siemra preaching to a large congregation. This painting is in the chapel dedicated to St. Bernard, 
 in the Church of S. Francisco at Bologna; it was in good preservation in 1179, when Agincourt made the drawing 
 given m this plate, but in consequence of the repairs made in the chapel soon after, it was destroyed. The date of 
 the completion of the painting is given underneath, April 20th, 1456, with tire name of the painter, Christoph 
 Oitali, a name (as far as we know) not mentioned by any historian. 
 
PLATE CXXXVII. 
 
 THE MARRIAGE OF THE VIRGIN; A FRESCO PAINTING BY LORENZO OF VITERBO. 
 FIFTEENTH CENTURY. 
 
 Tliis great composition is in one of the chapels of the 
 Church of S' 3 Maria della Verità at Viterbo ; the artist is much 
 less known than he deserves. The following passage from an 
 ancient chronicle of Viterbo, quoted by Bussi in his history of 
 this town, gives the details of the subject, with the date, &c. :— 
 “ Uno spettabile ceptadino nominate Nardo Mazzatosta de Viter¬ 
 bo .... de sua propria pecunia fece fare una honorevole 
 cappella nella chiesa de S“* Maria della Verità ove sta la imagine 
 della nostra donna, e dipin ta et ornata per mano de Mastro 
 Lorenzo .... de Viterbo .... alia mano manca quando 
 entrate in detta cappella, ore appare che essa Vergine gloriosa lè 
 dato lo anello da S'"- Giuseppe, ove sono molti giovani cavati 
 
 dal naturale tra quali da quello lato ove sta la gloriosa Vergine 
 sono depinte certe donne de più reggioni, e dietro a dette donne 
 sta una vestita de negro, e dietro a quella detto Mastro Lorenzo 
 volse depingere me e cavar me dal naturale, e cosi fece, ove 
 vedrete uno antico homo, d’età d’anni 68£ o circa, vestito de 
 pavonazzo et col mantello addosso et una baretta tonda in testa 
 et calze negre el quelle e fatto alia similitudine mia fatta a di 
 26 Aprile 1469, el quelle persone che vorranno leggere le mie 
 scritture et cognoscermi vada a vedere in quello loco ; l’altre 
 figure sono fatte a similitudine d’altri, delle quali al presente non 
 fo memoria.” 
 
PLATE CXXXVIII. 
 
 A PAINTING IN DISTEMPER ON WOOD BY CARLO CRIVELLI OF VENICE. 
 END OF THE FIFTEENTH CENTURY. 
 
 The Virgin and Child on a throne. The original of this picture is in the collection of Cardinal Zelada; it is dated 
 1476, and it bears the name of the artist, Carlo Crivelli of Venice, a painter much better known in Ancona, where 
 he lived and left many works, than in his native city. There are two other subjects by this master given on 
 pi. clxii. (Itidolfi, Vite de’ Pittori Veneti, vol. i. Lanzi, Storia Pittorica ; Bassano, 1809, vol. iii.) 
 
PLATE CXXXIX. 
 
 PAINTING IN DISTEMPER ON CANVAS BY ANDREA MANTEGNA. FIFTEENTH CENTURY. 
 
 1. St. Euphemia, a virgin martyr ; she is represented holding a lily in one hand, and a palm branch in the other. 
 The dagger in her bosom, and the lion biting her arm, refer to the kind of martyrdom which she suffered. The 
 painting bears the following inscription :—“Ores Andheæ Mantegnæ MCCCCLIIII.” 
 
 2. The head of St. Euphemia, traced from the original painting. 
 
 o. The hand and foot of St. Euphemia, also traced from the original painting. 
 
X7XXXJ '"'■l 
 
-ï/l, 
 
 c/yu/ifo 
 
 / farts a 61 r/s- ■ ’(/{(//Wi . !/as 
 
 ■an taa,na- A'I iWaU 
 
A PAINTING IN DISTEMPER ON WOOD BY ANDREA MANTEGNA. 
 
 Judith returning to Bethulia, followed by her maid carrying the head of Holofernes ; this painting originally belonged to 
 the collection of Prince Giustiniani at Rome, and was afterwards added with many others to the Royal Museum at 
 Berlin. It is given here from an original tracing, and proves the great progress caused to be made in art by Mantegna, 
 and how useful the study of the ancient masters was in the composition of pictures. On the bas-relief at the side is 
 the date, 1489. 
 
 Painting J J 
 
PLATE CXL1. 
 
 A PAINTING IN DISTEMPER ON WOOD. END OF THE FIFTEENTH CENTURY. 
 
 1. The Virgin and Child; the Virgin is holding her finger to a dove. This painting is dated 1484, and is in the Borgia 
 Museum at Veletri. 
 
 2. The head of the Virgin, traced from the original. 
 
 3. Head of the infant Jesus and the dove, of the original size. 
 
.CXLI 
 
 
PLATE CXLI1 
 
 A FRESCO PAINTING BY MELOZZO DA FORLI, THE INVENTOR OF FORESHORTENING. 
 FIFTEENTH CENTURY. 
 
 Jesus ascending to heaven, surrounded by angels and cherubim. This painting formed the centre of a large 
 composition on one of the arches of the Apostolic Church at Rome ; it was executed by order, and at the cost, 
 of Cardinal Riario, nephew of Sixtus IV., in 1472, and is considered the first in which the art of foreshortening was 
 used and understood. When the church was pulled down in 1702, this fragment was removed to the staircase of the 
 Palazza Quirinale, where it still remains, with the following inscription: —“Opus Melotii Foroliviensis, qui summos 
 
 FORNICES P1NGENDI ARTEM VEL PRIMUS INVENIT, VEL ILLUSTRAVIT." 
 
 Other fragments of the same composition, removed from the Apostolic Church to the Belvidere Palace at the Vatican. 
 
PLATE CXL1II. 
 
 BACCHANALS BY GIOVANNI BELLINI, WITH A LANDSCAPE BY TITIAN. COMMENCEMENT OF TIIE 
 FIFTEENTH CENTURY. 
 
 This composition was commenced in 1514 by Giovanni Bellini at a very advanced age, for Alphonso L, duke of Ferrara ; 
 lie died before its completion. It was finished by his most celebrated scholar, Titian, who added a landscape, but placed 
 only the name of his master underneath—“ Joannes Bellbuis, Venetus, MDCXIIII.” This painting is in the Villa 
 Aldobrandini on Monte Cavallo. (Ridolphi, Vite de’ Pittori Veneti, vol. i., p. 57.) 
 
* . . . .C A 
 
PLATE CX LI Y. 
 
 PORTRAIT OF ALPHONSO I. OF ARRAGON, KING OF NAPLES. FIFTEENTH CENTURY. 
 
 This painting on wood belonged to Don Nicolo Azara, Spanish ambassador at the court of Rome. It appears to be in oil 
 colour, but this point cannot be ascertained with certainty. It is attributed to Antonello of Messina, who resided for 
 some time at the court of Alphonso I. This prince was celebrated both as a warrior and lover of the arts. He is 
 represented in complete armour, with his crown lying on an open copy of Cæsar’s Commentaries, which he made his 
 especial study. The medal underneath bears the head of this prince on one side, and Victory in a quadriga on the 
 other, with the following inscription :—“ Alfonsus rex Aragonum victor Sicilie preci.” This engraving is taken 
 from the work of Vergara, entitled “ Monete del regno di Napoli Roma, 1715, pi. xxii., p. 68. 
 
 Painting K K 
 
PLATE CXLY. 
 
 FRESCO PAINTING BY FRA GIOVANNI DA FIESOLE. FIFTEENTH CENTURY. 
 
 This painting is in the small chapel of S. Lorenzo, in the 
 Vatican, which was built and decorated by Nicholas V. as his 
 private oratory. Fra Giovanni da Fiesole, by whom the 
 fresco paintings were executed, is believed to have been the 
 pupil of Gerardo Stamina, and probably the master of 
 Benozzo Gozzoli and of Gentile Fabriano, who became the 
 chief of the celebrated school of Venice. Most of the subjects 
 relate to the lives of St. Stephen and S. Lorenzo. 
 
 1. The choice of the scvep deacons ; St. Stephen is receiving 
 the cup for the administration of the sacrament from the hands 
 of St. Peter; St. Stephen succours widows and orphans. 
 
 2. St. Stephen preaching ; he is accused by the Jews, and 
 defends himself before the council. 
 
 3. The Jews drive St. Stephen out of the city,, and stone 
 him. 
 
 4. Pope Sixtus ordaining S. Lorenzo as a deacon. This 
 painting bears the following inscription, showing that this 
 chapel was restored under Gregory XIII.:—“Greg. XIII. 
 
 pont. max. egregiam hanc picturam a F. Joanne Angelico 
 Fesulano ord. præd. Nicolai papæ V. jussu elaboratam ac 
 vetustate pænè consumptam instaurari mandavit.’’ 
 
 5. St. Sixtus, thrown into prison, sends a purse with the 
 treasures of the church to S. Lorenzo, who distributes the 
 money to the poor. 
 
 6. S. Lorenzo, carried before the prefect, is scourged and 
 extended on a grate. 
 
 7. Groined vault of the same chapel, with the four evange¬ 
 lists painted larger than life on a blue ground, with stars in 
 
 I gold. 
 
 8. The four Greek fathers of the church, St. John Chrysos- 
 tome, St. Leo, St. Athanasius, and St. Gregoiy. 
 
 9. The four Latin fathers of the church, St. Thomas, St. 
 Ambrose, St. Bonaventura, and St. Augustine. (Taja, Des- 
 
 j crizione de Palazzo Vaticano; Roma, 1750, p. 119. Chattard, 
 
 I Nuova Descrizione del Palazzo Vaticano; Roma, 1766, vol. ii., 
 j p. 303.) 
 
FRESCO PAINTINGS IN TERRA VERDE BY PAOLO UCCELLO OF FLORENCE. FIFTEENTH CENTURY. 
 
 This painting is in the Dominican Monastery of S ,a - Maria Novella. Paolo Uccello contributed the most to perfect the 
 science of perspective and foreshortening and the play of draperies, and was the first to introduce a truthful delineation 
 of animals and landscape. He was of the Florentine school, and this subject is considered by Vasari as the best of 
 his works ; it represents Noah, surrounded by his family, sacrificing to the Lord on leaving the ark. It is painted in a 
 single colour of green earth heightened with white, a mode of painting adopted by this master in imitation of the first 
 Greek painters, who, according to Pliny, executed their works in this manner. (Vasari, Vite de' Pittori ; edit, de Rome, 
 vol. i., p. 208. Baldinucci, Notizie de' Professori del disegno; Firenze, 1768, vol. iii., p. 134.) 
 
SECOND PART 
 
 CONTINUED. 
 
 REVIVAL OF PAINTING 
 
 IN THE FIFTEENTH CENTURY. 
 
 SECOND 
 
 PLATE 
 
 A PAINTING IN TEMPERA ON WOOD, ASCRIBED TO 
 
 This and the following eight plates contain nearly the whole 
 of the works of the celebrated Masaccio, forming quite an era in 
 the history of art. Y asari says of him :—“ Niun Maestro di 
 quella età si accosto à moderni quanto costui and of his 
 works :—“ Le cose fatte innanzi a lui si possono chiamare 
 dipinte, e le sue vive, veraci e naturali.” The celebrated poet 
 Annibale Caro wrote the following beautiful epitaph on this 
 master :— 
 
 Pinsi, e la mia pittura al ver fu pari ; 
 
 L' attegiai, lavvivai, lo diedi il moto ; 
 
 Le diedi affetto ; insegni il Buonarotto 
 
 A tutti gli altri, e da me solo impari. 
 
 This painting is in the collection of M. Curti-Lepri at Rome. 
 The subject is that of a French lady returning through Florence 
 from a pilgrimage to Rome, with her little son. The child is 
 exhausted by the fatigues of the journey, and lies at the point 
 
 PERIOD. 
 
 CXLVII. 
 
 TOMMASO GUIDI MASACCIO. FIFTEENTH CENTURY. 
 
 of death ; when the mother, full of faith, throws herself at the 
 feet of S. Zenobio or Zeno, bishop of this city, who makes the 
 sign of the cross, and restores him to health, in the presence of 
 a large assemblage of the clergy and inhabitants of the town. 
 There is an inscription on the façade of the Altoviti palace, in 
 the Strada Albizzi at Florence, where the event occurred, to the 
 following effect : —■“ B. Zenobius puerum a matre Gallica 
 Romam ecnte sibi creditum, atque interea mortuum, dum 
 eadem reversa sibi urbem lustranti hoc in loco con- 
 QUERENS OCCURRIT, SIGNO CRUCIS, AD VITAM REVOCAT An. SaL. 
 
 cccc.” The subject of this composition is the same as that of 
 of the bronze bas-relief by Masaccio’s celebrated cotemporarv 
 Lorenzo Ghiberti, which we have given in pi. xlii. of the part 
 on Sculpture. (Cinclli, Belezze de Firenze, 1677, p. 359. 
 Richa, C'hiese Fiorentine, vol. i., p. 124. Lanzi, Storia Pitto- 
 rica ; Bassano, 1809, vol. i., p. 58.) 
 
FRESCO PAINTING BY MASSACIO IN THE CHURCH DEL CARMINE AT FLORENCE. 
 
 FIFTEENTH CENTURY. 
 
 The subject» of this and the three following plates are painted on the walls of the Brancacci Chapel in the Church 
 del Carmine, and are considered among the finest works of Masaccio. According to Vasari and Borghini, this set of 
 paintings, giving the history of St. Peter, was commenced by Masolino of Panicale, continued by his scholar Masaccio, 
 and completed by Filippino Lippi. They served as studies to most of the great masters who followed and perfected 
 the revival of art, such as Leonardo da Vinci, Fra Bartolomeo di San Marco, Andrea del Sarto, Raphael, MloWl 
 Angelo, &c. The subject of this plate, which is one of the most beautiful, represents the Emperor Nero condemning 
 St. Peter and St. Paul to death, and the crucifixion of Peter. (Vasari, vol. i, p. 239. Borghini, II Eiposo ; Firenze, 
 1730, p. 253. Baldinucci, Notizie de’ Professor! del disegno; Firenze, 1768, vol. iii., p. 173.) 
 
 Painting L 
 
PLATE CXLIX. 
 
 FRESCO PAINTING IN THE CHURCH DEL CARMINE AT FLORENCE, COMMENCED BY MASSACCIO, AND 
 FINISHED BY FILIPPINO LIPPI. FIFTEENTH CENTURY. 
 
 Two different scenes are represented in this painting: on one side, St. Peter is preaching the word of God from the 
 episcopal pulpit ; on the other, he is restoring the nephew of the emperor to life, in presence of the whole court. 
 We learn from Vasari and Borghini, that an early death prevented Masaccio’s finishing tliis painting, and that it 
 was completed by Filippino Lippi. 
 
Tan. CJŒBl 
 
1. St. Paul visiting St. Peter in prison. 
 
 2. An angel liberating St. Peter. 
 
 3. Peter and John healing the sick at the entrance of the temple. 
 
 4. Peter baptizing converts; Vasari particularly praises the correctness and expression of the naked figures in this 
 composition. 
 
 5. Adam and Eve driven from paradise ; Raphael considered these figures so fine that when painting the same subject in 
 the Vatican, he did not hesitate to make use of them. 
 
PLATE G LI. 
 
 HEADS, FROM THE FRESCO PAINTINGS OF MASACCIO IN THE CHURCH DEL CARMINE 
 
 FIFTEENTH CENTURY. 
 
 T FLORENCE. 
 
 These two heads, taken from No. 3 of the preceding plate, are traced from the originals. 
 
rHÈaâff 
 
PLATE CLII. 
 
 FRESCO PAINTINGS BY MASACCIO IN THE CHURCH OF ST. CLEMENT AT ROME. 
 
 FIFTEENTH CENTURY. 
 
 1. St. Catherine arguing with the heathen judges who have condemned her to death. 
 
 2. The beheading of St. Catherine. The subjects of this and the two following plates, although executed by Masaccio, 
 'are very inferior to those in the Church del Carmine; they have also been painted over. They are on the walls of the 
 
 Chapel della Passione, the plan and situation of which is given in pi. xvi. of the Architectural part of this work. 
 
 Paisttng M M 
 
FRESCO PAINTINGS BY MASACCIO IN THE CHURCH OF ST. CLEMENT AT ROME. 
 
 1. St. Catherine healing a sick child ; a painting in the Chapel of St. Clement. 
 
 2. Various figures and heads, given of their full size from paintings in the same chapel. 
 
rao.a.m. 
 
PLATE CLY. 
 
 A COLLECTION OF THE PRINCIPAL WORKS OF MASACCIO AT ROME AND FLORENCE. 
 FIFTEENTH CENTURY. 
 
 Although the subjects on this plate have been given 
 separately on the eight preceding plates, we have thought it 
 desirable to unite them on one, as affording better means 
 of judging of the influence these works were likely to exercise 
 on art. 
 
 1. (pi. cliii.) St. Catharine healing a child at the request of 
 its mother ; in the chapel of the Church of St. Clement. 
 
 2. (pi. cliv.) The three Marys, from the crucifixion. 
 
 3. From the same. 
 
 4. (pi. clii.) St. Catharine before her judges. 
 
 5. (pi. cliv.) Two paintings from the vault of the chapel of 
 St. Clement at Rome. 
 
 6. (pi. clii.) Beheading of St. Catharine; from the Church 
 of St. Clement at Rome. 
 
 7. (pi. cl.) St. Peter in prison, visited by St Paid ; from 
 the Chapel of Brancacci in the Church del Carmine at 
 Florence. 
 
 8. Peter delivered from prison ; from the same. 
 
 9. Peter healing by his shadow ; from the same. 
 
 10. Peter administering baptism ; from the same. 
 
 11. Adam and Eve driven from paradise; from the same. 
 
 12. (pi. cxlix.) The preaching and miracles of St. Peter; 
 the same. 
 
PLATE CLYL 
 
 PAINTINGS IN FRESCO AND ON WOOD, AT ORVIETO AND CORTONA, BY LUCA SIGNORELLI. 
 FIFTEENTH CENTURY. 
 
 All the subjects on this plate, with the exception of No. 7, 
 are in the Cathedral of Orvieto, in the Chapel della Madonna di 
 san Brizio. They are justly celebrated in the liistory of art as 
 the first paintings in which a true knowledge of anatomy and 
 the use of the naked figure is found ; and even now they excite 
 astonishment in the mind of every artist who beholds them. 
 (Vasari ; Roma, vol. i., pp. 513 and 518. Lanzi, Storia Pittorica, 
 vol. i., p. 78.) The Padre della Valle gives a detailed account 
 of these paintings in his “ Storia del duomo di Orvieto ;” Roma, 
 1791, from which is extracted the following description:— 
 
 1. Paradise; or the elect received in heaven. A choir of 
 angels perform on various instruments, whilst others bestow 
 crowns and branches of palm. (Ibid., pi. xxxiv.) 
 
 2. An angel strewing flowers; from the preceding. The 
 original is of the size of life. (Ibid, pi. xxxvi.) 
 
 3. These two figures ai - e supposed to be portraits of Luca 
 Signorelli and Fra Giovanni da Fiesole, who painted the ceiling 
 of the Chapel della Madonna di san Brizio. They are taken 
 from a composition of Signorelli, in which he represents the fall 
 of Antichrist. (Ibid, p. 213.) 
 
 4. Various mythological subjects surrounding the large 
 compositions. 
 
 5. Hell, or the judgment of the damned. Fallen angels, in 
 the form of devils, driven from heaven, take the souls of the 
 
 damned with them to hell. The idea of this composition, the 
 most celebrated in the chapel, appears to have been suggested 
 to Signorelli by Dante. The devil bearing a female on his 
 wings, in the upper part of the picture, seems to interpret 
 exactly the following lines of the poet :— 
 
 E vidi dietro a noi un Diavol nero ; 
 
 Ahi quant' egli era nell’ ospetto fiero ! 
 
 E quanto mi parea nell' atto acerbo. 
 
 Con 1' ale aperte e sowa i piè leggiero. 
 
 L'omero suo ch'era acuto e superbo 
 
 Carcava un peccator con ambo l'auche. 
 
 If Signorelli owed some of his ideas to the poet, the great 
 masters who followed owed much to him. Michael Angelo, 
 according to the testimony of Vasari, did not hesitate to own 
 that he had deeply studied this composition, and even imitated 
 some of the figures in his last judgment. (Ibid, pi. xxxiii., 
 p. 214. Vasari ; Ed. of Sienna, by Lavalle, vol. iv., p. 341.) 
 
 6. A devil strangling one of the damned; reduced from 
 a tracing of the original in the preceding composition. 
 
 7. The institution of the Lord’s supper. This composition 
 is painted on wood in the choir of the Cathedral at Cortona. 
 Judas, already contemplating his treachery, places the holy 
 wafer given by his master in his purse. 
 
 N X 
 
PLATE CLY II. 
 
 FRESCO PAINTINGS BY DOMENICO GHIRLANDAJO IN THE CHURCH OF S TA - MARIA NOVELLA AT FLORENCE. 
 
 FIFTEENTH CENTURY. 
 
 The subjects on this plate are selected from the works of Ghirlandajo as showing the peculiar merits of this master, who 
 possessed great variety of idea, with grace and elegance of expression. He was also the first to apply a knowledge of 
 perspective, which gives great space to his compositions. (Vasari; Rome, vol. i., p. 425. Lanzi, Storia Pittorica, 
 vol. i., p. 75.) 
 
 1. The birth of John the Baptist ; Vasari greatly praises this composition, and most especially the figure of the woman 
 who is stretching out her arms for the child. 
 
 2. The meeting of Mary and Elizabeth ; tliis picture is enriched with a portrait of Ginevra Benci, who was greatly 
 celebrated for her beauty. She is the taller of the three women on the right. 
 
 3. The birth of the Virgin; the richness of the architecture in this composition is very remarkable. (Vasari, vol. i., 
 p. 430. Richa, Chiese Florentine, vol. iii., p. 64.) The school established by Domenico Ghirlandajo proved of great 
 
 service to the masters who succeeded him, especially to the celebrated Buonarotti. 
 
PLATE CLVIII. 
 
 CHRONOLOGICAL SUCCESSION OF THE OLD MASTERS OF THE SCHOOLS OF BOLOGNA AND NAPLES. 
 FOURTEENTH TO THE SIXTEENTH CENTURY. 
 
 1. Fragment of a composition of the judgment of the 
 woman taken in adultery; painted in fresco by Vitalis of 
 Bologna, in the Church della Madonna di Mezzaratta. 
 Another work of a larger size by this master is given in plate 
 cxxvii. He flourished about the middle of the fourteenth 
 century, and is considered one of the first of the school of 
 Bologna. (Malvasia, Felsina Pittrice, vol. i., p. 15. Lanzi, 
 Storia Pittorica ; Bassano, 1809, vol. v., p. 12.) 
 
 2. The circumcision of Jesus Christ; a fresco painting in 
 the Church of the Madonna di Mazzarata, by Jacopo d’Avanzi 
 and Simon of Bologna, sumaraed de' Crocifissi. (Malvasia, 
 Ibid, vol. i., p. 18.) 
 
 3. Moses giving his code of laws to the Jews ; this fresco 
 painting in the same church is by Christophoro da Bologna, who 
 flourished at the end of the fourteenth century. A composition 
 by this master is given on plate clx. (Malvasia, vol. i., p. 23. 
 Pitture di Bologna, 1782, p. 364.) 
 
 4. The marriage of a prince ; a fresco painting in the same 
 church by Lorenzo of Bologna, a contemporary and rival of Vitalis. 
 (Malvasia, Ibid, vol. i., p. 16. Pitture di Bologna, p. 365.) 
 
 5. The Virgin and Child with St. John, St. Francis, St. 
 Bernard, St. Sebastian, and St. George ; this painting was for 
 a long time ascribed to Francesco Francia on account of the 
 superscription, “ Francia aur. Bon. MDXXVI,” but the initial 
 J has since been discovered, proving that it was the work of 
 Jacobus Francia, the son and pupil of Francesco. This painting 
 was taken from the Church of S. Francesco to the Academy of 
 Bologna. (Pitture di Bologna, 1782, pp. 95 and 490. Lanzi, 
 Storia Pittorica, vol. v., p. 23.) 
 
 6. A group of armed men ; a painting on wood in the 
 gallery of the Malvezzi Palace at Bologna, by Giovanni Maria 
 
 Chiodarolo, one of Francesco Francia’s best scholars. There 
 are other works by the same master in the Palazzo della Viola 
 in the same town. (Pitture di Bologna, p. 32: Malvasia, 
 Ibid, p. 58.) 
 
 7. Pope St. Urban converting and instructing Tiburtius, hus¬ 
 band of St. Cecilia ; this composition in the Church of St. 
 Cecilia, is by Lorenza Costa, pupil of Francesco Francia. It 
 was executed about the year 1506, in competition with Chio¬ 
 darolo, Aspertini, and others, who were employed to illustrate 
 the life of St. Cecilia in this church. (Pitture di Bologna, 
 p. 59. Vasari, vol. ii., giunta, p. 29.) 
 
 8. Apollo and Marsyas ; this painting is in the Palazzo 
 della Viola, now the Gymnasium, at Bologna; it is by Innocenzio 
 Francucci, surnamed Innocenzio da Imola, also a pupil of 
 Francesco Francia, and great imitator of Raphael. He flourished 
 from 1506 to 1549. (Pitture di Bologna, p. 32. Malvasia, 
 Ibid, vol. i., p. 146.) 
 
 9. Diana and Endymion ; a fresco painting in the same 
 palace by Amico Aspertini, another pupil of Francesco Francia, 
 who died in 1552 at the age of 78. (Pitture di Bologna, p. 32. 
 Malvasia, Ibid, p. 141.) 
 
 10. The birth of the Virgin ; a fresco painting in the choir 
 of the Church of S. Giovanni a Carbonara at Naples, by Ste- 
 fanone, an ancient master of the Neapolitan school. (Dominici, 
 Vite de’ Pittori Napoletani, vol. i., pp. 74 and 77.) 
 
 11. The birth of Christ; a fresco painting in the Church of 
 Monte Oliveto at Naples, by Antonio Solario, called the Zingaro, 
 the scholar and son-in-law of Colantonio del Fiore. He tra¬ 
 velled for some time and was the first to introduce the style of 
 other Italian schools in his native city in the early part of the 
 fifteenth century. (Dominici, Ibid, vol. i., p. 125.) 
 
PLATE CLIX. 
 
 FRESCO PAINTINGS OF THE SCHOOL OF BOLOGNA. FOURTEENTH CENTURY. 
 
 and infant Jesus receiving the homage of angels, saints, and martyrs; this fresco painting is 
 Church of San Mammolo at Bologna. 
 
PLATE CLX. 
 
 PAINTING IN DISTEMPER ON WOOD BY CHRISTOPHER OF BOLOGNA. END OF THE FOURTEENTH CENTURY. 
 
 The Virgin with the infant Jesus in her arms; a painting over the high altar of the Church of the Madonna della 
 Mezzaratta. Monks on one side and nuns on the other are kneeling under the mantle of the Virgin. The two heads 
 at the side are from tracings of the original. The words “ Christophorus pinxit, 1380,” are at the back of the 
 painting. A composition by this master has already been given in pi. clviii., No. 3. (Pitture di Bologna, 1782, p. 362.) 
 
 Painting 0 0 
 
PLATE CLXI. 
 
 A PAINTING IN DISTEMPER ON WOOD, OF THE NEAPOLITAN SCHOOL, IN THE EARLY PART OF THE 
 SIXTEENTH CENTURY. 
 
 The Virgin and Child with two monks. One, apparently intended for St. Dominic, is presenting a nun, whose name is 
 given in the inscription underneath:—“Hoc opus fieri fecit soror Mat alena Mormina sub anno 1501.” The 
 
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PLATE CLXIT. 
 
 CHRONOLOGICAL SUCCESSION OF THE OLD MASTERS OF THE VENETIAN SCHOOL, FROM THE FOURTEENTH 
 TO THE SIXTEENTH CENTURY. 
 
 1. A council or synod ; a fresco painting in the Augustine 
 Church at Padua, attributed to Guariento, a native either of 
 Padua or Verona, who flourished about the year 1360. (Rosetti, 
 Descrizione delle Pitture, Scolture, ed Architetture di Padova, 
 1780, p. 159.) 
 
 2. The Virgin and Child on a throne surrounded by angels 
 and saints. This painting is in the Chapel of St. Giacomo and 
 Filippo, in the Church of S. Antonio at Padua ; it has generally 
 been attributed to Guisto de’ Menabuoi, known by the name of 
 Guisto Padovano, who flourished about 1380. (Rossetti, Ibid, 
 p. 51.) 
 
 3. Half length figure of the Virgin and Child. This 
 painting bears the name of Giacomo Bellini, the father of 
 Gentile and Giovanni Bellini, the founders of the Venetian 
 school. He flourished about 1456. 
 
 4. St. Jerome taking a thorn from the foot of his lion, 
 whilst the frightened monks run away. This painting is one of 
 the first executed on canvas ; it is preserved in the Scuola di 
 san Girolamo at Venice. Ridolfi and Zanetti attribute it to 
 Luigi Vivarini, who flourished about 1414, but the style of the 
 painting proclaims a more advanced state of art ; it is therefore 
 probably, as Lanzi remarks, by another Luigi Vivarini of the 
 same family, who flourished about 1490, at the same time as 
 Giovanni Bellini and Vittore Carpaccio. (Ridolfi, Vite de’ 
 Pittori Veneti, vol. i., p. 20. Zanetti, Della Pittura Veneziana, 
 p. 13. Lanzi, Storia Pittorica; Bassano, 1809, vol. iii., p. 18.) 
 
 5. Half length figure of the Virgin and Child. This paint¬ 
 ing is dated 1450, and bears the name of Francesco Squarcione 
 of Padua, who died in 1474 at the age of eighty. He was the 
 founder of a school in his native town which exercised great 
 influence over that of Venice, from which the celebrated Man¬ 
 tegna, chief of the Lombard school, sprung. 
 
 6. St. Sebastian in his coffin. This composition is selected 
 from four others relating to the history of this saint, in the 
 library of the Capitol at Padua, by Niccolo Semitecolo ; one of 
 the paintings is dated 1357. (Rosetti, Pitture di Padova, 
 p. 140. Zanetti, Ibid, p. 10. Lanzi, Ibid, vol. iii., p. 12.) 
 
 7. St. Sebastian pierced with arrows. The name of Sebas¬ 
 tian Zuccati of Treviso, or, according to some, of Ponte in the 
 Valtelino, is written underneath; he lived about 1490, and 
 was one of Titian’s first masters. 
 
 8. Christ on his throne, blessing a woman who kneels at liis 
 feet. The throne and dress of Christ are particularly richly 
 ornamented. This painting, which belongs to the collection of 
 Signor Sasso, bears the name of Quiricius of Murano, who lived 
 about 1470. 
 
 9. Herod commanding the murder of the Innocents. This 
 composition bears the name of Hieronymus Mocetto, one of the 
 first scholars of Giovanni Bellini. Works are known by this 
 master bearing the dates of 1484 and 1495. (Lanzi, Ibid, 
 vol. iii., p. 43.) 
 
 10. The Virgin and Child, with Mary Magdalene. Under¬ 
 neath arc the following words:—“ Pasqualinus Venetus pinxit 
 1496." 
 
 11. A painting in three compartments, representing the 
 interment of Christ by the Virgin and St. John in the centre, 
 and at the sides St. Jerome, and a holy martyr. These half 
 length figures are of the size of life in the original. The name 
 of Carlo Crivelli of Venice is inscribed on this painting, in clear 
 Roman character. We have already spoken of him in pi. 
 cxxxviii. (Zanetti, Ibid, p. 19. Lanzi, Ibid, vol. iii., p. 21.) 
 
 12. Portrait of Giacomo d'Ascoli of the order of Fran¬ 
 ciscans by Carlo Crivelli. The painting is six feet three inches 
 in length, and two feet ten inches in width. Although this 
 picture is on canvas, and is dated 1477, it appears to be painted 
 in distemper. 
 
 13. St. Jerome dying receives the holy sacrament on his 
 knees. 
 
 14. The burial of St. Jerome. The originals of this and the 
 preceding aie in the Scuola di san Girolamo at Venice ; they 
 are both by Victor Carpaccio, who flourished at the end of the 
 fifteenth and commencement of the sixteenth century. (Ridolfi, 
 Ibid, vol. i., p. 28. Zanetti, Ibid, p. 37. Lanzi, Ibid, vol. iii., 
 p. 41.) 
 
 15. Two half length figures of a man and woman, by 
 Giorgio Barbarclli di Castel Franco, commonly called Gior¬ 
 gione; he died in 1511 at the age of thirty-four, and is con¬ 
 sidered one of the first masters of the Venetian school. Some of 
 the subjects on this plate are painted in fresco, but most of 
 them aie in distemper on wood. Nearly all bear the date and 
 name of the artist, a custom universally adopted by the Venetian 
 school. 
 
PLATE GLXIII. 
 
 CHRONOLOGICAL SUCCESSION OF THE ANCIENT MASTERS OF THE TUSCAN SCHOOL, SUCCESSORS OF GIOTTO. 
 FOURTEENTH AND FIFTEENTH CENTURIES. 
 
 1. The descent from the cross; a fresco painting in the 
 Church of S. Francisco at Assisi. It is ascribed to Puccio 
 Capanna, who flourished about 1334, and was one of Giotto's 
 best scholars. 
 
 2. The death of St. Ranieri ; a fresco painting in the Campo 
 Santo at Pisa, by Antonio Veneziano. (Etruria Pittrice ; Firenze, 
 1791, vol. i., pi. xii.) According to Vasari he was a Venetian, 
 but according to others a Florentine; he died in 1383, at the age 
 of seventy-four. He never retouched his fresco paintings when 
 dry, and they have the uncommon merit of remaining in good 
 preservation. 
 
 3. The inhabitants leaving a town ; this composition was 
 engraved by Mulinari of Florence, from a drawing by Tommaso 
 di Stefano, surnamed Giottino, from having been a pupil and 
 imitator of Giotto. He was bora in 1324, and died at the age 
 of thirty-two. (Lanzi, Storia Pittorica, vol. i., p. 45.) 
 
 4. The death of St. Benedict; a fresco painting in the 
 sacristy of the Church of San Miniato at Florence, by Spinello 
 of Arezzo, pupil of Jacopo da Casentino, who flourished in the 
 fourteenth century, and died in 1400. Vasari likens him to 
 Giotto, and considers that he equalled him in drawing, and 
 surpassed him in colouring. (Etruria Pittrice, Ibid, pi. xiii.) 
 
 5. A sacrifice, the subject unknown, from an engraving by 
 Mulinari, after a drawing by Jacopo Casentino, a pupil of Taddeo 
 Gaddi, who died at an advanced age in 1380. There is great 
 richness in the arrangement of the figures, and in the archi- 
 tecture of this composition. 
 
 6. Pope Martin V. giving a brief of indulgence to the 
 rector of the hospital of S w - Maria Nuova in Florence, upon the 
 consecration of this church in 1420. This fresco painting is by 
 Lorenzo di Bicci, who died in 1450 ; he was one of Spinello’s 
 best scholars, and according to Vasari one of the last who pre¬ 
 served the simple and naive style of Giotto, united with greater 
 freedom. (Etruria Pittrice, pl.<sv.) 
 
 7. The birth of Christ; this painting on wood was originally 
 in the Church of S ,a- Margarita at Prato, and is one of the best 
 works of Fra Filippo Lippi, who was born in 1400, and died in 
 1469. (Etruria, Ibid, pi. xxi.) 
 
 8. Peter called to the apostlesliip ; a fresco painting by 
 Masaccio in the Brancacci chapel, in the Church del Carmine at 
 Florence. 
 
 9. The drunkenness of Noah ; a fresco painting in the Campo 
 Santo at Pisa, by Benozzo Gozzoli, one of the scholars of Fra 
 Angelico da Fiesole, who distinguished himself by the richness 
 of his compositions. (Etruria, Ibid, pi. xviii.) 
 
 10. Christ on the cross, with the Virgin, St. John, St. Bene¬ 
 dict, and St. Romuald ; a fresco painting in the monastery dei 
 Angioli at Florence, by Andrea del Castagno, who died in 1477 
 at the age of seventy-four. (Etruria, Ibid, pi. xxii.) Andrea 
 del Castagno greatly assisted the progress of art by liis know¬ 
 ledge of perspective; he was also the first to introduce oil 
 painting in the Tuscan school, the knowledge of which secret 
 it is said he extracted from Domenico Veneziano, whom he 
 afterwards murdered. 
 
 11. The Virgin and Child on a throne surrounded by saints ; 
 an oil painting on wood in the Hospital degli Innocenti at Flo¬ 
 rence, by Pietro di Lorenzo, commonly called Pietro di Cosimo, 
 from the name of his master Cosimo Roselli. He was bora in 
 1441, and died in 1521. (Etruria, Ibid, pi. xxxvii.) 
 
 12. The murder of the Innocents ; an oil painting on wood 
 in the Church S“- Catharina a Formello at Naples, by Mattco 
 di Giovanni, known by the name of Matteo di Sienna, who was 
 born in 1440, and died in 1491. He first introduced oil paint¬ 
 ing in the school of Sienna. The murder of the Innocents was 
 his principal subject, he repeated it several times; the date 
 under the one on this plate seems to have been placed there by 
 mistake, as explained in the “ Lettere Sanesi,” by the Padre 
 della Valle, vol. iii., pp. 46 and 56. 
 

PLATE CLXIV. 
 
 CHRONOLOGICAL SUCCESSION OF THE PRODUCTIONS OF THE ULTRAMONTANE SCHOOLS. 
 TWELFTH TO SIXTEENTH CENTURY. 
 
 1. This miniature painting is in a manuscript of the twelfth 
 century, preserved in the archives of the Monastery of Weyarn 
 in Bavaria; it bears the following words:— “Codex Falken- 
 
 STEINENSIS SEU LIBER CENSDALIS ATQUE FEODALIS COMITÜM NeU- 
 
 burgensium jussu Sigebotonis III. circa Annum 1180.” From 
 the inscription on the roll in their hands, we should conclude 
 that Count Siboto, with his wife and sons, are intended to be 
 represented ; it runs thus :— 
 
 “ Die VALEAS PATRI, BENE, F1LI, DICITE MATRI ; 
 
 Qui legis hec care nostri petimus memorare: 
 
 Hoc EQUIDEM CUNCTI, MAGE TU, CARISSIME FILI.” 
 
 (Monumenta Boica, ab academia scientiarum Maximilianea ; 
 Monacliii, 1763-1772, vol. vii., p. 432.) 
 
 2. These figures are traced from a book of woodcuts, thus 
 
 entitled— “ lilistoria ÿ.incti cbaiigdistrc, cjitsquc 
 
 bisioncs Spocalppticit,” which belonged to a learned English¬ 
 man of the name of Edwards, a great collector of rare books ; it 
 belongs to the class described by Baron Yon Heineken in his 
 “ Idée générale d’une collection complète d’estampes Leipzig, 
 1771, p. 334. Books of this kind, consisting of pictures, with 
 Latin inscriptions, without text, Avere in use in the fourteenth 
 and early part of the fifteenth centuries, before the discovery of 
 printing ; they therefore give an idea of the state of art in the 
 German school at that period. 
 
 3. Christ on the cross, Avith the Virgin and St. John ; a 
 painting on wood of the size of life, by Nicholas Wurmser of 
 Strasburg, in the Imperial Gallery at Vienna, dated 1357. 
 (Michel, Catalogue des Tableaux de la Galerie Impériale à 
 Vienne; Basle, 1784, p. 230.) 
 
 4. The offering of Mary in the temple, from an engraving 
 by Albert Durer. 
 
 5. St. Augustine in the dress of a bishop, Avith a pen in his 
 hand ; half length figure, painted on Avood, larger than the size 
 of life, by Theodoric of Prague, in the Imperial Gallery at Vienna. 
 (Mechel, Ibid, p. 231.) 
 
 6. Portrait of a young man holding a ring ; a painting on 
 wood, attributed to John van Eyck. (Michel, Ibid, p. 157.) 
 The name of Jan de Van Opsant is found on the border of the 
 painting, it is probably that of the person represented ; it is 
 dated 1401. 
 
 7. Portrait of Charles V., by Titian, in the Imperial Palace 
 at Madrid. In the “ Lettere Pittoriche,” vol. iii., p. 106, there 
 is a letter of Aretinus relating to this picture, in Avhich he con¬ 
 gratulates Titian on his reception by this prince. 
 
 8. Figure of a saint holding an open book in one hand, and 
 a branch of palm in the other ; from a painting by John van 
 Eyck, in the collection of Herr Enschedé at Haarlem. 
 
 9. Half length portrait of Jacquelinaof Bavaria, countess of 
 Heinault, Holland, and Zealand, celebrated by her amours, her 
 misfortunes, and her courage, having led her troops in person 
 against Philip, duke of Burgundy. After being a Avidoiv three 
 times, she married Frank von Borselen, a Zealand nobleman, 
 Avith the consent, and in the presence of Philip, Avho had seized 
 her states ; this marriage is represented in small size under the 
 portrait. The painting is by John Mostaert, a Dutch painter, 
 Avho died in 1555. 
 
 10. Ilagar dismissed by Abraham, a draAving by Lucas von 
 Leyden, from Agincourt’s collection. A correct idea of the 
 merit of the original cannot be given in so small an engraving. 
 
 Lucas von Leyden Avas born in 1494, and died in 1533, Avlien at 
 the height of his fame. 
 
 11. This painting, executed in the thirteenth or fourteenth 
 century, is in the Cathedral at Upsala in SAveden. It represents 
 a king, accompanied by a pope and a bishop, landing at Upsala. 
 (Monumenta Uplandica ; Stockholmiæ, 1710, part i., p. 186.) 
 
 12. The martyrdom of King Eric; a fresco painting of the 
 fifteenth century in the same cathedral. The barbarous style of 
 this composition sIioavs hoAV far behind the Italians other painters 
 of this period Avere. (Ibid, part i., p. 205.) 
 
 13. This miniature painting is from a manuscript of the 
 eighth century; it appears to represent a betrothal. (Strutt, 
 Honda Anzelcynnan, or a complete vieAv of the inhabitants of 
 England; London, 1774-75, vol. i., pi. xv., fig. 1.) 
 
 14. A woman chiving in a sort of chariot; painting from a 
 manuscript of the ninth century. (Strutt, Ibid, vol. i., pi. v., 
 fig. 6.) 
 
 15. A combat betAveen tAVO armed men, Avith a third dividing 
 them ; from a manuscript in the Cottonian library, of the 
 eleventh century. The figures are very similar to those in the 
 tapestry of Queen Matilda, given in pL clxvii. (Strutt, Ibid, 
 vol. i., pi. xxvi., fig. 1.) 
 
 16. A monk kneeling at the feet of Christ, with the folloAving 
 distich above :— 
 
 Dunstanum memet clemens, rogo Christe tuere ; 
 
 Tenarias me non sinas sorbsisse procédas. 
 
 The folloAving Avords are written on the upper part of the 
 painting :—“ Pictura et scriptura hujus pagine subtus visa 
 est de propria manu S ü Dunstani ;” informing us that both 
 the painting and inscription were by the hand of St. Dunstan, 
 who Avas bishop of Canterbury in the tenth century. (Strutt, 
 Ibid, vol. i., pL xviii., p. 71.) 
 
 17. Christ, Avith the Virgin and St. Peter underneath; a 
 cross is supported on an altar by King Canute and Queen 
 Alfgyfe, Avhose names are inscribed at the sides ; underneath, 
 monks are seen praying. (Strutt, Ibid, vol. i., pL xxviii., p. 109.) 
 
 18. Portraits of Henry III., king of England, and Queen 
 Eleanor his consort ; a painting on glass in the Church at 
 Bexliill in Sussex, printed as a title-page to Horace Wal¬ 
 pole's “Anecdotes of Painting in England ” at StraAvberry Hill, 
 1762. It Avoidcl appear that the art of painting was nearly 
 as much exercised in England in the thirteenth century 
 as in Italy. Horace Walpole, in his history of art in 
 England, mentions that there Avere more than twenty orders 
 for payments made from the royal treasury for paintings 
 in fresco and on Avood from 1228 to the end of the reign of 
 Henry III., which lasted from 1216 to 1272. It is not knoAvn 
 Avhether these payments Avere all made for paintings of figures 
 and subjects, or merely for colouring the Avails, but the particu¬ 
 lars of some are given ; for instance, one is mentioned in the 
 year 1233 for painting figures on the Avails of a room in the 
 royal palace, and for painting over others previously there, show¬ 
 ing that the art of historical painting Avas in use at a still earlier 
 period in England. (Walpole, Ibid, vol. i., p. 3.) Another pay¬ 
 ment in the same year Avas made for figures of the Redeemer, 
 the Evangelists, St. Edmond, and St. Edward, Avhich Avere to be 
 well painted in the royal chapel at Woodstock. (Ibid, p. 3.) A 
 third payment Avas for Avhitening the Avails in the Chapel of St. 
 John, and for three painted Avindows, viz., the Virgin and Child, 
 the Trinity, and the apostle St. John, showing that the art of 
 
 Painting P P 
 
PLATE C'LXIV.— (Continued.) 
 
 painting on glass was known in the time of King John, who 
 reigned a century earlier than Henry III., in whose time it 
 became universal. The following command, dated in the twenty- 
 fourth year of the reign of Henry III., 1239, is remarkable as 
 implying the discovery of oil painting to have preceded by many 
 years the birth of the Van Eycks, generally considered the dis¬ 
 coverers of that art:—“ Liberate de thesauro nostro Odoni auri- 
 fabro et Edwardo filio suo, centum et septemdecem solidos et 
 decern deuarios pro oleo, vernici et coloribus emptis et picturis 
 factis in camera reginæ nostræ apud Westm.,” etc. (Ibid, p. 6.) 
 
 19. A tournament ; a miniature painting of the fourteenth 
 or fifteenth century, in the Cottonian library, containing the life 
 of Richard de Beauchamp, count of Warwick. (Strutt, Ibid, 
 vol. ii., pi. xxviii., p. 121.) 
 
 20. Portrait of Henry VIII., king of England ; painted by 
 Holbein in the sixteenth century ; now at Hampton Court. 
 
 21. Christ in the clouds blessing Lotliaire, king of France, 
 and his son Louis with one hand, and Queen Emma with her 
 son Otto with the other. This miniature painting is from a 
 breviary which belonged to Queen Emma, consort of Lothaire, 
 who reigned from 954 to 986. (Montfaucon, Monumens de la 
 Monarchie Française, vol. l, pi. xxx., p. 346.) 
 
 22. William the Conqueror, duke of Normandy, sitting on 
 
 a throne in front of his palace, and receiving the Count of j 
 Pontliieu, who promises to deliver his rival, Harold, into his hands. 
 This fragment is from the famous tapestry of Queen Matilda, 
 given complete in pi. clxvii. (Montfaucon, Ibid, vol. ii.) 
 
 23. Another portion of the same tapestry, in which William 
 is seen arming Harold. (Montfaucon, Ibid, voL ii., pL ii., p. 12.) 
 
 24. Charlemagne receiving the Greek ambassadors from the 
 Emperor Constantine Porphyr'ogenetes ; a painting on glass in 
 
 the Church of St. Denis near Paris. (Montfaucon, Ibid, vol. i., 
 p. 277.) 
 
 25. Portrait of Pierre, count d’Alençon, son of St. Louis, 
 who died in 1283 ; from a cartoon in the collection of the 
 Count de Gaignières. (Montfaucon, Ibid, vol. ii., pi. xxvii., 
 p. 161.) 
 
 26. Death of St. Louis IX., king of France ; his soul is 
 borne to heaven by a naked boy, as shown from the words 
 above:—“ Coeli, dum moritur, Ludovicds pace potitur.” 
 At the side he is seen on an altar receiving vows and offerings. 
 These two subjects, in the sacristy of the Abbey of St. Denis, 
 appear to have been painted about the middle of the fourteenth 
 century. (Montfaucon, Ibid, vol. ii., pi. xxv., p. 158.) 
 
 27. Charles V., king of France, riding out, accompanied by 
 courtiers and learned men ; in the distance are seen the Castle 
 of Vincennes and the gate of Montlhéry. This miniature 
 painting is of the fourteenth century. The mountain and part 
 of the building are painted blue, the trees and ground in green 
 and gold. (Montfaucon, Ibid, vol. iii., pi. vii., p. 33.) 
 
 28. The Maid of Orleans ; from the collection of an English 
 painter at Rome. It is the work of a later period. 
 
 29. Portrait of King René of Anjou, called the Good, and 
 his Queen Johanna; traced from a drawing of the sixteenth 
 century, given on pi. clxvi. 
 
 30. The deluge ; from a large composition by Jean Cousin, 
 from Agincourt’s collection ; sixteenth century. 
 
 31. Francis L, king of France; from a miniature painting 
 by Niccolo dell’ Abbate, scholar of Primaticcio. Tliis work 
 was engraved in 1765 by Chenu, with a description by Agin- 
 court, who says that Niccolo del! Abbate represented, by this 
 allegorical figure, the talents and virtues of Francis I. 
 
 PLATE CLXY. 
 
 THE DESCENT FROM THE CROSS, FROM A DRAWING BY ALBERT DURER. 
 SIXTEENTH CENTURY. 
 
 This great and beautiful composition is from a tracing of the original in the Villa Aldobrandini ; it is drawn with 
 a pen and lightly touched with water colours. It bears the date 1503, and monogram of Albert Durer, born 
 in Nürnberg in 1470, and justly regarded as the founder of the German school. 
 
PLATE CLXVI. 
 
 AN OIL PAINTING ON WOOD BY RENE D’ANJOU, COUNT OF PROVENCE. 
 FIFTEENTH CENTURY. 
 
 This painting is on a sort of triptychon in the chapel of the 
 Carmelite church at Aix in Provence, executed by René d’Anjou, 
 count of Provence, surnamed the Good, who died in 1480, at 
 the age of seventy-two. It is twelve feet in height and seven in 
 width when closed. 
 
 1. Centre of the triptychon ; in the upper part the Virgin and 
 Child are in the midst of a burning bush, and in the lower an 
 angel appears to Moses whilst taking off his shoes to approach 
 the burning bush. The following inscription is under the 
 painting:—“ Rubdm quem viderat Motses incombustum, 
 
 CONSERVATAM AGNOVIMUS TÜAM LAUDABILEM VIRGINITATEM, 
 sancta Dei genitrix.” Around the border are the following 
 words:— “Qui me invenerit inveniet vitam et hauriet 
 salutem a Domino.” The dress of the angel is uncommonly 
 rich. 
 
 2. Interior of the left wing ; King René is represented 
 kneeling, at an advanced age, which leads us to suppose that 
 this work was executed in his latter years. The long robe is 
 of velvet, lined with ermine, he has a black velvet cap on his 
 head, and a carpet embroidered with fleur-de-lis covers the prie- 
 dieu before which he is kneeling. The first figure behind him 
 is that of the Magdalen, the second St. Anthony, and the third 
 St. Maurice, fully armed, holding a flag. The brilliancy of the 
 steel armour is given with great fidelity ; there is a cameo of 
 Christ in the front of the helmet executed with great delicacy. 
 
 3. Outer side of the same wing ; the angel Gabriel with a 
 lily in his hand greeting the Virgin, painted en grisaille on the 
 outer side of the right wing, so that when both wings are closed 
 the annunciation is represented. The following words are 
 written at the side:—“ Ave Maria gratia plena.” 
 
 4. Interior of the right wing ; Queen Johanna, second wife 
 of King René, kneeling before a table covered with an embroi¬ 
 
 dered cloth bearing the arms of her family, on which a book of 
 prayers is lying open, with a miniature painting of the annun¬ 
 ciation in the capital letter. The queen is represented both 
 young and beautiful ; her Catalonian costume consists of a long 
 robe, with a vest of ermine fastened with chain-work of gold. 
 The three saints standing behind are St. John the Evangelist, 
 St Catherine, and St Nicholas. 
 
 5. Outer side of the same wing, with the following words at 
 the side of the angel, “Ecce ancilla Domini this wing when 
 closed with No. 3, forms the annunciation. 
 
 6. Part of the figure of King René, from No. 2, in larger 
 size. 
 
 7. The fall of man, painted in the form of a cameo in the 
 agraffe to the robe of the angel in No. 1. 
 
 8. The Virgin and Child in a burning bush ; a miniature 
 painting in an oval which the infant Jesus is holding in No. 1. 
 
 9. Head of the angel in No. 1, from a tracing of the original ; 
 to give an idea of the style of the drawing, Montfaucon, in the 
 “ Monumens de la Monarchie Française,” vol. iii., pi. xlvii., gives 
 a portrait of King René in the same attitude as in No. 2, 
 which he considers to be a copy, but there is one remarkable 
 difference, that the prince wears the order of St. Michael, which 
 is not the case here. The notes to a manuscript “ d’heures 
 latines,” No. 285 in the library of the Duc de la Vallière, 
 inform us that it was embellished with paintings by King René, 
 the subjects of which relate chiefly to his two wives, Isabelle of 
 Lorraine and Johanna de Laval. Another manuscript, No. 2811, 
 entitled “De très douce mercy au cuer d’amour épris.” A 
 romance in prose and verse, also enriched with miniature paint¬ 
 ings by King René. And lastly, a third manuscript, No. 3988, 
 with representations of a tournament, is also illuminated by 
 King René. 
 
PLATE CLXYII. 
 
 EMBROIDERY OF QUEEN MATILDA, COMMONLY CALLED THE BAYEUX TAPESTRY. 
 ELEVENTH CENTURY. 
 
 We leam from history, that when Edward the Confessor, 
 king of England, felt his end approaching, he sent Harold | 
 Earl of Kent to inform William Duke of Normandy that he 
 had made him his heir ; notwithstanding which, upon the death 
 of Edward, Harold placed himself at the head of a powerful 
 party to dispute the crown with William, who invaded England 
 in 1066, conquered his rival at the famous battle of Hastings, 
 and took possession of the throne. These are the principal 
 events represented by his Queen on her famous tapestry, which 
 is still preserved in the Cathedral at Bayeux. Matilda was the 
 daughter of Henry I. and mother of Henry II., king of 
 England ; she died in 1084. 
 
 This tapestry work measures two himdred and ten feet eleven 
 inches in length, and nineteen inches in width. Some of the 
 subjects were first engraved by Lancelot in the sixth volume of 
 the “ Mémoires de l'Académie des inscriptions et belles lettres.” 
 Montfaucon afterwards printed them in his “Histoire de la 
 Monarchie Française par les Monuments;” and Agincourt 
 lastly collected them on one plate, as given here. 
 
 1. Upon landing in England, Duke William holds a council. 
 
 2. Harold on horseback hawking. 
 
 3. A huntsman with two dogs, from the border of the 
 tapestry. 
 
 4. Two dead or wounded soldiers, from the border of the 
 tapestry. 
 
PLATE CLXVIII. 
 
 OTHER KINDS OF PICTURES EXECUTED IN VARIOUS MATERIALS. ELEVENTH AND 
 TWELFTH CENTURIES. 
 
 1. The lid of a box, in Agincourt's collection, with represen¬ 
 tations of birds, beasts, and insects, formed of very small nails, 
 or pins, of gold and silver, of various shades in colour. 
 
 2. The crucifixion ; executed in mosaic work of wood, in 
 the collection of Cardinal Zélada. There were many beautiful 
 works of this kind executed in Italy in the sixteenth century ; 
 some of the most celebrated are in St. Mark and S. Francisco 
 in Venice, S 1 "- Maria at Verona, San Domenico at Bologna, 
 Santa Maria del flore at Florence, S. Pietro at Perugia, and 
 in the Cathedral at Pisa. The most distinguished masters for 
 this kind of work are Christophoro and Lorenzo Canozio de 
 Lendinara, Fra Giovanni da Verona, Fra Damiano da Bergamo, 
 Giovanni Barile, and Guiliano and Benedetto da Majano ; one 
 of the latter is supposed to have been the author of the subject 
 before us. (Vasari, Vite de’ Pittori ; Home, vol. i., p. 58.) 
 
 3. Christ giving a benediction with one hand, and holding a 
 roll, or volume, in the other. This figure, in the museum of the 
 Collegio Romano, is a sort of engraving on copper-plate, filled 
 in with coloured enamel. 
 
 4. Part of a glazed earthenware dish, measuring ten inches 
 three lines. Vessels of this kind were manufactured at Faenza, 
 Urbino, and Castel Durante, and are known by the name of 
 “ Majolica,” or “ Terra invetriata.” The subject on this dish is 
 the meeting of Mary and Elizabeth ; the Virgin, accompanied by 
 several women, is receiving Elizabeth on the steps of a palace. 
 It is much to be regretted that the whole of this beautiful compo¬ 
 sition cannot be given here ; it is dated 1559. In the part of 
 this work on Sculpture we have given fragments of glazed and 
 painted terra cotta by Luca and Andrea della Robbia, but they 
 should be classed as sculpture from their being executed in 
 relief. See pi. xxxviii. of the part on Sculpture. 
 
 5. A head ; executed all’ Agemina or all’ Azzimina. This 
 art appears to have been introduced in Italy from Persia in the 
 fifteenth century; it is a kind of damask work in metals. 
 The subject before us is from an astrolabium or a box, a 
 
 detailed description of which can be found in the treatise of the 
 Abbé Mauro Boni, entitled “ Memorie per servire alia storia 
 letteraria, etc. per l’anno 1799;” and also in the dissertation of 
 the Abbé Francesconi, entitled “ Illustrazione di un’ Umetta 
 lavorata all’ Agemina,” etc.; Venezia, 1800. 
 
 6. Half length figure of John the Baptist; painted in 
 enamel on copper, five inches in length and three inches ten 
 lines in width ; the border is of relief ornaments in white 
 enamel. This subject is from the ancient manufactory at 
 Limoges, from which France was so greatly enriched by works 
 of this kind during the sixteenth century. 
 
 7. The five kings hanged by order of Joshua. This compo¬ 
 sition is taken from the celebrated pavement in the Cathedral 
 at Sienna, commenced in the fifteenth and completed in the 
 sixteenth century by various artists, among the most celebrated 
 of whom were Matteo di Giovanni and Domenico Beccafumi. 
 (Vasari, vol. i., p. 57. Lettere pittoriche, voL i., p. 308. Lavalle, 
 Lettere Sanesi, voL iii., p. 125.) 
 
 8. Part of a triumphal procession ; executed in “ Sgrafitto” 
 on the façade of a house in the Strada Borgo Pio at Rome. 
 “ Sgrafitto” is a kind of painting, or fresco drawing, of a very 
 durable kind, much employed in Italy during the sixteenth 
 century. Vasari gives a description of the art, vol. i., p. 53. 
 
 9. The adoration of the magi. The outlines of the figures 
 in this subject are engraved on a copper plate and filled in with 
 coloured enamel, from the collection of D. Guiseppe Lelli 
 at Rome. 
 
 10. Two subjects on a window in the Church of San 
 Luigi at Rome, one of which represents the martyrdom of 
 St. Sebastian. 
 
 11. A sort of surplice, given by King Stephen of Hungary 
 and his consort Queen Gisla to the Church of Albaregalis; 
 it is formed of silk and wool, with the figure of Christ in the 
 middle with saints around ; the lower part contains the portraits 
 of the pious donors, who reigned in 1031. 
 
PLATE CLXIX. 
 
 PLATES FROM SOME OF THE EARLIEST ENGRAVINGS ON WOOD AND COPPER. 
 FIFTEENTH CENTURY. 
 
 1. Ancient bas-relief from the work of Pietro Sante Bartoli, 
 entitled “ Gli anticlii scpolchri;” Roma, 1768. Painting per¬ 
 sonified, proposing to Varro that lie should adorn his “ Lives of 
 celebrated men” with portraits, intimated by the words “ Faxis 
 Varro,” and the portrait placed on an easel. 
 
 2. The letter R, cut in wood and printed on the manuscript 
 in readiness for colouring. 
 
 3. The letter B, adorned with animals and foliage in colours ; 
 from a breviary or psalter printed at Mayence in 1447. It is 
 considered by Heineken to be the earliest printed book bearing 
 a date, and the best proof of the antiquity of the art of wood¬ 
 cutting, and the service rendered by it to typography. (Heineken, 
 pL iii., pp. 262, 263.) 
 
 4. The letter E, from a manuscript of Seneca of the thir¬ 
 teenth or fourteenth century, the details of which have been 
 given in pi. lxxii. This letter appears to have been one of those 
 stamped on the manuscript. 
 
 5. The letter O, of the same description, and from the same 
 manuscript. 
 
 6. The figure of a bishop, from an ancient wood-cut in a 
 German legend, which appears to have been planted in 1470. 
 
 7. Specimens of ornament frequently found in manuscripts 
 and printed books, repeated by means of a stamp. 
 
 8. St. Christopher carrying the infant Jesus through the 
 waves of the sea ; tills subject is from a printed impression, 
 dated 1423, considered by Heineken to be from a more ancient 
 wood-cut ; he mentions having seen it on the cover of a book of 
 the fifteenth century. The following distychon is placed at the 
 foot of the figure :— 
 
 “CrISTOFERI FACIEM DIE QUACÜMQUE TDER1S 
 
 Illa nempe die morte mala non morieris 
 Millesimo CCCC 0 XX” tercio." 
 
 9. Christ in a glory, surrounded by angels and cherubim ; 
 one of the three copper-plate impressions in the book of Antonio 
 Bettini of Sienna, entitled, “ II Monte Sancto di Dio,” printed at 
 Florence in 1447, by Nicolo di Lorenzo della Magna. The 
 Abbé Mercier, who wrote a dissertation on this work, in Paris, 
 1783, considers that these three copper-plates were the first ever 
 printed, as Bettini's work preceded that of Dante published in 
 1481, generally considered the first with impressions from a metal 
 plate. The Abbé Mercier gives his account of this work from a 
 copy in the library-of Minerva at Rome. Agincourt speaks of 
 another in the collection of the Abbate Rossi, one of the richest 
 in classical works, and above all of editions of the fifteenth cen¬ 
 tury, ever possessed by a private individual. In the catalogue 
 made by the Abbate Foggini, principal of the Corsini library at 
 Rome, to which the greater part of this valuable collection was 
 added, he gives the following title :—“ Incommincia il libro 
 intitolato Monte Sancto di Deo composto da Messer Antonio da 
 Siena reverendo vescovo di Fidigno, della congregazione dei 
 poveri Gesuati.” At the end of the volume we find the words 
 “ Niccolo di Lorenzo della Magna. Florentiæ X die mensis 
 Septembris, 1477." This book is of very thick paper, which 
 both looks and feels like parchment, probably arising from the 
 great pressure to which it has been subjected in printing. The 
 first plate represents a mountain and a liigh tower, with 
 inscriptions ; the second, Christ in a glory, as given on 
 this plate; and the third, the devil taking possession of the 
 damned. 
 
 10. The descent from the cross ; printed from a silver plate in 
 the possession of Prince Stanislaus Poniatowsky. It is probable 
 that the engraver, Maso Finiguerra, or Antonio del Pollaiuolo, 
 never intended impressions to be taken from tliis plate, as the 
 letters on the cross, I. N. R. I., are not reversed. 
 

PLATE CLXX. 
 
 FIRST PERIOD OF THE ART OF PRINTING; IMPRESSIONS OF ALPHABETIC CHARACTERS JOINED 
 TO THAT OF FIGURES. FIFTEENTH CENTURY. 
 
 The example on this plate is to show how the text was 
 printed on one page, and the figures to which it referred on the 
 other ; it is taken from the book entitled, “ nicnior.llltii 
 itotaMté per figurai cb.mgriist.inini,” containing thirty wood- 
 cuts, fifteen for text, and fifteen for figures. The Baron von 
 Heineken, in his “ Idée d’une collection complète d’Estampes,” 
 has published the text from two different editions ; the impression 
 given on this plate is from the first, in the valuable collection of 
 Mr. Edwards in London. Baron von Heineken is of opinion that 
 tliis was the first book which appeared with the text and illus¬ 
 trations occupying separate pages, showing the progressive state 
 of the art of wood-cutting, which at first was only used for servile 
 imitations of illuminated manuscripts, as seen by the preceding 
 plate, but afterwards, upon its separation from typography, 
 became a distinct art, no longer necessarily requiring to be united 
 with text. In the “ Ars Memorandi” the various emblems of 
 
 the evangelists are given, viz. : the eagle, for St. Jolm; the angel, 
 for St. Matthew ; the bull, for St. Luke ; and the lion, for St. 
 Mark. The text only contains a summary of the contents of the 
 chapter, the subjects of which are exemplified by small allegori¬ 
 cal figures, on the larger one, designated by numbers. In the 
 emblem of St. Mark, given on tliis plate, the body of the lion is 
 coloured of a pale yellow ; the wings are half green and half red; 
 the hat on the head, No. 5, is red ; the cap of the other, violet ; 
 the drapery is red and black; and almost all the subjects are 
 painted on a white ground. The costume is only to be seen in 
 the emblem of St. Matthew, where the angel is robed in a long 
 white mantle. The character of the illustrations in the “ Ars 
 Memorandi” are very similar to those of the “ Exultet” given in 
 plates liii., liv., lv., and lvi., and to those in the manuscript, 
 No. 927, in the library of the Vatican, engraved on pi. lxvii., 
 Nos. 4, 5, 6, 7, 8. 
 
PLATE CLXXI. 
 
 THE ARTS OF PAINTING AND ENGRAVING UNITED IN PRINTED BOOKS. FIFTEENTH CENTURY. 
 
 1. Title-page of a book of prayers in Agincourt’s collection, 
 from a careful tracing. This book is in octavo, printed on 
 vellum, and contains prayers to the Virgin in Latin, with one 
 title and superscription in French. 
 
 2. The last page of the same work, informing us that it was 
 completed on the twenty-first of August, 1497. 
 
 3. The angel announcing the birth of Christ to the shep¬ 
 herds ; one of the illuminated copper-plates in the same work. 
 
 4. Title-page of another book of prayers in Agincourt’s 
 collection. 
 
 5. The birth of Christ announced to the shepherds; an 
 engraving from the preceding, prepared for illumination, but 
 not completed. 
 
 6. End of the book, No. 4, showing that it was printed in 
 1505 at Paris, by Thielman Kerver. Both these books are 
 printed on vellum ; the first contains seventeen large illumi¬ 
 nated plates, with a number of small subjects in the borders 
 and capital letters. The chief part of the text is printed in 
 black, with a small portion in red. The second book contains 
 twenty large plates, of which the subjects are taken from the 
 Old and New Testament, with numerous unconnected figures in 
 
 the borders. It is uncertain whether the name of Jehannot on 
 the title-page of the first book is that of the bookseller or of 
 the printer. La Caille, in his “ Histoire de l'Imprimerie,” 1689, 
 speaks of Denys Janot, father and son, and Etienne Janot, all 
 printers of books from the year 1484 to 1540, but he does not 
 cite this one printed in 1497. This Jehannot was therefore 
 probably the one mentioned by Papillon as bookseller and 
 printer in 1539. (Traité de la gravure en bois, vol. i., p. 459.) 
 We have more certain information of “ Thielman Kerver,” 
 whose name is on the second book. Chevillier, in lois “ Origine 
 de l'Imprimerie de Paris,” says that he reprinted a breviary 
 with Ulrich Gering, one of the founders of typography at Paris, 
 and took after him the title of bookseller to the University of 
 Paris. La Caille gives a very detailed accoimt of Kerver and 
 his works, and says that he was the first who made use of black 
 and red in printing ; he must have been possessed of consider¬ 
 able property, having presented various ornaments to different 
 churches in Paris ; he left several children, who carried on his 
 business. One of them, Jacques Kerver, was burgomaster at 
 Paris in 1568. 
 
THE DISCOVERY AND PRACTICE OF OIL PAINTING, BY JOHN VAN EYCK AND ANTONELLO OF MESSINA. 
 
 FIFTEENTH CENTURY. 
 
 1. A group from a large composition by the brothers Hubert and John van Eyck, from the Apocalypse; it is considered 
 their principal work, and is in the Church of St. Baron at Ghent. It was painted in the time of Philip-le-bon, duke of 
 Burgundy. The side compartments of this admirable picture are in the Royal Museum at Berlin. (Descamps, Vies des 
 Peintres Flamands, vol. i., p. 3.) 
 
 2. A portrait in one of the compartments of the same composition, supposed to be that of John van Eyck, by himself. 
 If not actually the inventor of oil painting, he was the first who perfected and diffused the knowledge of the art. 
 
 3. Christ laid in the tomb by angels. A painting by Antonello of Messina, in the chamber of the council of ten, in the 
 palace at Venice. This picture is in the best preservation of any of Antonello's, who, according to Vasari, was the first 
 to introduce the discovery of the Brothers van Eyck in Italy. (Zanetti, Della Pittura Veneziana, pp. 19, 490. 
 
 Painting Ti 0 
 
THIRD PART. 
 
 REVIVAL OF THE ART OF PAINTING AT THE END OF 
 THE FIFTEENTH AND COMMENCEMENT OF THE 
 SIXTEENTH CENTURY. 
 
 PLATE CLXXIII. 
 
 FRESCO PAINTINGS IN THE SISTINE CHAPEL IN THE VATICAN. END OF THE FIFTEENTH CENTURY. 
 
 1. The Israelites worshipping the golden calf in the 
 wilderness, with Moses breaking the tables of the law ; a 
 fresco painting by C'osimo Roselli of Florence, who flourished 
 at the end of the fifteenth century. 
 
 2. Moses returning to Egypt with his family is arrested by 
 an angel, who commands him to have his son circumcised—the 
 command is obeyed by his wife Zepora; a fresco painting by 
 Secca Signorelli of Cortona, by whom we have given other 
 works on pi. clvi. 
 
 3. The punishment of Korah, Datlian, and Abiram, by 
 
 Alessandro Filippi, known by the name of Sandro Botticelli, 
 the scholar of Fra Filippo Lippi, who died in 1515, at the 
 advauced age of seventy-eight. 
 
 4. Christ giving Peter the key of the Church ; a fresco 
 painting by Pietro Vanucci, called Perugino, assisted by 
 Bartolomeo della Gatta, abbot of St. Clemenzo, in Arezzo. 
 These four paintings are selected from those which adorn the 
 walls of the Sistine chapel, which was built in 1473, by order 
 of Pope Sixtus IV., from designs by Baccio Pintelli, a Floren¬ 
 tine architect. 
 
. 
 
PLATE CLXXY. 
 
 OTHER PAINTINGS BY LEONARDO DA VINCI AT MILAN AND AT ROME. 
 FIFTEENTH AND SIXTEENTH CENTURIES. 
 
 1. The Last Supper ; a mural painting over the door of the 
 refectory of the Dominicans, of S“- Maria delle Grazie, by 
 Leonardo da Vinci. The moment chosen by the painter is, 
 when our Lord says, “ Amen dico vobis quia unus vestriim me 
 traditurus est.” This composition was commenced in 1497, and 
 is considered the work which contributed most to the celebrity 
 of this great master ; the colouring is greatly injured by time. 
 We learn from a letter of Mariette to Caylus, in the collection 
 “ delle lettere Pittoriche,” that the King of France possesses an 
 original drawing of this work, and that there are two ancient 
 copies of it in France, one in the Church of St. Germain l’Aux- 
 errois at Paris, and the other in the chapel of the Castle of 
 Ecouen. 
 
 2. Jesus disputing with the Doctors, painted in oil, on wood, 
 by Leonardo da Vinci. This painting was originally in the pos¬ 
 session of Prince Aldobrandini at Rome, but is now in the 
 National Gallery in London. 
 
 3. Horsemen fighting for a banner ; fragment of a cartoon. 
 
 drawn by Leonardo da Vinci, for the council chamber, in the 
 Palazzo Vecchio at Florence: this spirited composition shows 
 his deep knowledge of the anatomy both of men and horses. 
 
 4. Fragment of the cartoon known by the name of “ La 
 Guerra di Pisa,” by Michael Angelo, also for the council cham¬ 
 ber in the Palazzo Vecchio. The subject is that of Florentine 
 soldiers surprised, while bathing, by a sally from the beleaguered 
 city of Pisa, and hastening to resume their arms ; this subject 
 was also chosen to show the great knowledge of anatomy pos¬ 
 sessed by Michael Angelo. These two celebrated compositions 
 were placed side by side, and were studied with admiration by 
 artists and lovers of art, until they were lost through negligence, 
 and these fragments are only known in consequence of their 
 having been engraved by Marc Antonio and Agostino Veneziano. 
 (Vasari; Roma, vol. iii., p. 208.) 
 
 5. Modesty and Vanity ; a painting on wood by Leonardo da 
 Vinci, in the Palazzo Barbarini at Rome. The expression of 
 these two figures is quite wonderful. 
 
4 - 
 
 PLATE CLXXVI1. 
 
 A DRAWING BY MICHAEL ANGELO REPRESENTING ANATOMICAL STUDIES. SIXTEENTH CENTURY. 
 
////'/ //u ./. f/ttZ/.’/tmyi'Jo; .e/t t/t'riïù- /lat'ft <ÿ, 
 
PLATE CLXXIX 
 
 FIRST IDEAS AND SKETCHES BY MICHAEL ANGELO. 
 
 The object of the last three plates is to show the means by which this master attained such perfection in his art. 
 
PLATE CLXXX. 
 
 THE “LAST JUDGMENT," BY MICHAEL ANGELO; A FRESCO PAINTING, IN THE SISTINE CHAPEL IN THE VATICAN. 
 
 SIXTEENTH CENTURY. 
 
 The Cavalière Onofrio Boni, in his “ Riflessioni sopra Mi¬ 
 chel Angelo Buonarotti Florence, 1809, likens this compo¬ 
 sition to a poem, divided into as many songs as there are 
 groups in the picture. In this immense composition, which 
 measures fifty-two feet in height, and forty-two in width, one 
 does not know which most to admire, the conception or the 
 execution. One feels inclined to exclaim with Condivi of Michael 
 Angelo, “ Tutto quel che d’un coipo umano puoô far l’arte della 
 pittura; non lasciando in dietro atto o moto alcuno;” and to 
 say with Vasari that this picture is “Un studio compito di 
 passioni di ogni genere.” The heads at the bottom of the 
 plate are given of a larger size to show the truth of this obser¬ 
 
 vation. The resemblance of some of them to the portrait of 
 Michael Angelo in the centre, proves that he made studies from 
 his own features. When Pope Paul III. succeeded to the pon¬ 
 tifical chair, he was very desirous to have the project of his 
 predecessor Clement VII. realized, and therefore induced Mi¬ 
 chael Angelo, notwithstanding his advanced age (sixty), to paint 
 this picture, on which he was occupied for eight years ; it was 
 completed and exhibited on Christmas Eve, 1541. (Condivi, 
 Vita di Michel Angelo ; Firenze, 1746. Vasari, Vite de’ Pittori ; 
 Rome, 1759, vol. iii., p. 251. Taja, Descrizione del Vaticano; 
 Roma, 1750, p. 57. Onofrio Boni, Riflessioni sopra Michel 
 Angelo Buonarotti; Firenze, 1809.) 
 
PLATE CLXXXI. 
 
 PORTRAITS OF RAPHAEL SANZIO, AND HIS MASTER PIETRO VANNUCCI, CALLED PERUGINO. 
 SIXTEENTH CENTURY. 
 
_ 
 
PLATE CLXXXII. 
 
 OIL PAINTINGS ON WOOD BY PIETRO PERUGINO AND RAPHAEL. END OF THE FIFTEENTH CENTURY. 
 
 1. The Virgin and Child, with St. John the Baptist and St Sebastian. Although this picture is not described by Vasari 
 or Borghini, it must be considered as one of the finest works of Pemgino. The inscription at the foot of the throne 
 is dated 1493. It was painted for the Church of S. Domenico at Fiesole, but is now in the tribune of the Gallery 
 at Florence. (Etruria Pittrice, vol. i., pi. xxx.) 
 
 2. A very similar subject, by Perugino's scholar, Raphael, with St. Peter, St. Paul, St. Catherine, and St. Dorothea. This 
 picture was painted for the Convent of S. Antonio di Padua in Perugia, but is now in the possession of tile King of 
 Naples. Although one of Raphael's earliest paintings, it surpasses that of his master. (ComoUi, Vita inedita 
 di KafFaello; Roma, 1791, pp. 51 and 16.) 
 
 mmmrmim 
 
PLATE CLXXXTII. 
 
 SKETCHES AND DRAWINGS BY RAPHAEL, COMPARED WITH THE ANTIQUE. 
 SIXTEENTH CENTURY. 
 
 1. Fragment of an antique frieze of terra cotta. 
 
 2. A sketch of two figures, by Raphael. 
 
 3. Sketch of a child, by Raphael; the study for an infant Jesus in a picture of the holy family. 
 
 4. Fragment, from another antique frieze in terra cotta. 
 
 5. Sketch of a child by Raphael. It seems to be for the infant Jesus in a picture of the holy family, the first idea 
 of which is sketched in No. 7. 
 
 6. Sketch for a holy family, by Raphael. 
 
 7. Another idea for a similar composition. 
 
 8. A female figure ; from part of an ancient fresco painting discovered on a wall in Rome at the commencement of the 
 eighteenth century. 
 
 The object of uniting these subjects on one plate is to show how well Raphael understood what was most worthy 
 
 of imitation in the antique. 
 
PLATE CL XXXI Y. 
 
 AN OIL PAINTING ON WOOD BY RAPHAEL. SIXTEENTH CENTURY. 
 
 The Virgin, with the infant Jesus on her knee, who is receiving a carnation from St. John. This painting is in 
 what may be called Raphael’s second manner, formed after he had left the school of Perugino, and studied the 
 works of Masaccio, Fra Bartolomeo, Leonardo da Vinci, and others. This picture is in the Borghese palace at 
 Rome ; the engraving on this plate is traced from the original. 
 
PLATE CLXXXV. 
 
 AN OIL PAINTING ON WOOD OF THE HOLY FAMILY BY RAPHAEL. SIXTEENTH CENTURY. 
 
 This small painting is in the Collegio Romano, and is given on this plate from an original tracing. From the 
 manner of its execution, we should consider it to have been painted at a later period than the subject on the 
 preceding plate. Raphael painted the same composition the size of life, and there are many repetitions of it 
 in existence by his scholars ; there is one in the sacristy of the Cathedral at Loretto. 
 
PLATE CLXXXV1. 
 
 THE PRINCIPAL HISTORICAL AND POETICAL COMPOSITIONS OF RAPHAEL UNITED. 
 SIXTEENTH CENTURY. 
 
 1. Moses saved from the Nile by command of Pharaoh’s 
 daughter. 
 
 2. The creation of the world. 
 
 3. Joseph interpreting Pharoah’s dream. 
 
 4. The conversion of St. Paul. 
 
 5. The inhabitants of Lystra bringing sacrifices to the 
 apostles; these two subjects are from tapestry worked from 
 designs by Raphael. 
 
 6. The school of Athens. 
 
 7. A conflagration arrested by the intercession of Pope 
 Leo IV. ; this, and the preceding, belonged to the set of pictures, 
 painted by Raphael for the Vatican. 
 
 8. Psyche at her toilet. 
 
 9. Psyche listening to the false flattery of her sisters. 
 
 10. Galatea on the sea; a fresco painting by Raphael, in a 
 room of the Farnesina Casino at Rome. 
 
 11. Cupid inviting the graces to admire the beauty of Psyche. 
 
 12. Jupiter trying to console Cupid. These two subjects 
 are selected from those painted in fresco by Raphael, in the hall 
 of the Farnesina Casino at Rome. 
 
 13. Psyche, attended by good spirits in a splendid palace. 
 
 14. The loves of Cupid and Psyche. 
 
 15. Jurisprudence; “Jus suum cuique tribuere.” 
 
 16. Philosophy: “Causarum cognitio." 
 
 17. Portrait of the immortal Raphael. 
 
 18. Poetry: “ Numine afflatur." 
 
 19. Theology: “ Divinarum rerum notitia.” 
 
 These four symbolical figures are painted in fresco, in the 
 same apartment of the Vatican as the “ School of Athens.” 
 
PLATE CLXXXVII. 
 
 THE HEAD OF SOCRATES, TRACED FROM THE FRESCO PAINTING OF THE “SCHOOL OF ATHENS." 
 
 SIXTEENTH CENTURY. 
 

Pa INTI KG V V 
 
P LATE CLXXXIX 
 
 PORTRAIT OF CARDINAL BEMBO, TRACED FROM “THE SCHOOL OF ATHENS." SIXTEENTH CENTURY. 
 
PLATE CXCI. 
 
 ANOTHER LISTENER, FROM “THE SCHOOL OF ATHENS." SIXTEENTH CENTURY. 
 
PLATE CXCIII. 
 
 THE HEAD OF A CHILD, FROM “THE SCHOOL OF ATHENS." SIXTEENTH CENTURY. 
 
7A77F 
 
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 ’’' ,r ‘"d# 4/,it >/ '//p/;#r>, 
 

PLATE CXCY. 
 
 ARABESQUES BY RAPHAEL AFTER THE ANTIQUE. SIXTEENTH CENTURY. 
 
 1. Part of an ancient hypogeum or sepulchral cavern at Pozzuoli on the Via Campana, ornamented with figures in relief. 
 The ensemble of this hypogeum can be seen in Paolis “Antichità di Pozzuoli;” Neapol, 1768, pi. xxxi, xxxii., 
 xxxiii., xxxiv., and xxxviii. 
 
 2. Part of a circular arch in the same hypogeum. (Ibid, pi. xxxii.) 
 
 3. Two of the pilasters in the same hypogeum. (Ibid, pi. xxxii.) 
 
 4. A small winged figure in the mausoleum of the Arruntia family, near the Porta Maggiore at Rome. (Piranesi, 
 Magnificenza de’ Romani ; vol. ii., pi. vii. and xv.) 
 
 5. Figures taken from the arabesque paintings in the Baths of Titus at Rome. 
 
 6. One of the arches in the loggia of the Vatican, ornamented with arabesques by Raphael after antique models. 
 
 7. Two of the piers supporting the arcades of the loggia, ornamented with arabesques from drawings by Raphael. 
 
çç - - J. ~ 3 
 
PLATE CXCYI. 
 
 ARABESQUES COMPOSED OR EXECUTED BY GIOVANNI DA UDINE, SCHOLAR OF RAPHAEL. 
 SIXTEENTH CENTURY. 
 
 A façade, ornamented with arabesques ; engraved from an original drawing belonging to Prince Stanislaus 
 Poniatowsky. 
 
 Various arabesques, executed by Giovanni da Udine, under the direction of, or from drawings by, Raphael. 
 
 Painting X X 
 
PLATE CXCVII. 
 
 A FRESCO PAINTING BY BERNARDINO PINTURICCHIO, RAPHAEL’S FELLOW STUDENT. 
 
 END OF THE FIFTEENTH CENTURY. 
 
 Tliis painting is in the Bufalini, now Mancini, Chapel in the Church of Ara-celi at Rome ; it was executed in the 
 fifteenth century by Bernardino Pinturicchio of Perugia, an assistant of Perugino. It represents the funeral of 
 St. Bernard of Sienna, of the order of Franciscans, who died at Aquila in 1444. To the right in the foreground is a 
 portrait of Nicolo Bufalini of Citta di Gastello, a consistorial advocate, who restored and embellished this chapel ; he 
 died in 1506. (Vasari, Vite de’ Pittori; Rome, 1759, vol. i., p. 479. Titis, Pitture di Roma ; 1763, p. 189. Casimiro, 
 Memorie istoriche della chiesa d’Ara-celi; Roma, 1736, p. 37.) 
 
Tav CAtM. 
 
PLATE CXCIX. 
 
 DETAILS OF THE PICTURE BY MAZZOLTNI, GIVEN ON THE PRECEDING PLATE. 
 COMMENCEMENT OF THE SIXTEENTH CENTURY. 
 
 1. The head of God, when commanding the sea to swallow up Pharaoh’s host. 
 
 2. Head of Pharaoh. 
 
 3. Head of a young Israelitish woman, who bears an infant in her arms in the background. 
 
 4. An Israelitish child. 
 
 5. Aaron, the high priest, returning thanks for the preservation of the Israelites, with a sacred vessel at his 
 feet, bearing the date MDXXI. 
 
PLATE CC. 
 
 WORKS OF THE PREDECESSORS, THE COTEMPORARIES, AND THE SUCCESSORS OF RAPHAEL. 
 FIFTEENTH AND SIXTEENTH CENTURIES. 
 
 1. The presentation of Christ in the temple ; a painting on 
 wood, in the gallery at Florence, by Fra Bartolomeo di S. Marco, 
 who was bom at Florence in 1469, and died in 1517. (Etruria 
 Pittrice, vol. i., pi. xxxviii.) 
 
 2. The dead Christ in the arms of the Virgin, St. John, 
 St. Peter, St. Paid, and St. Catherine. This picture by Andrea 
 del Sarto was in the church of the convent of St. Luke in 
 Tuscany, but is now in the gallery at Florence. Andrea 
 Vanucci del Sarto was born in 1488, and died in 1530. (Ibid, 
 vol. i., pi. xl.) 
 
 3. The reconciliation of the Roman censors M. Lepidus and 
 Fulvius Flaccus ; a fresco painting at Sienna, by Domenico 
 Beccafumi, who, according to Vasari, died in 1549, at the age of 
 65. (Ibid, vol. i., pi. xlix.) 
 
 4. The Virgin, with St. Joseph and St. Leonard ; a painting 
 on wood, by Antonio Razzi, called il Sodoma, who died in 1554, 
 at the age of seventy-five ; this picture is in the Chapel of the 
 Palazzo Publico at Sienna. (Ibid, vol. i., pi. xli.) 
 
 5. Cupid and Psyche, by Giulio Romano, one of Raphael’s 
 most celebrated scholars, who died in 1546, at the age of forty- 
 seven. 
 
 6. A sybil, and the prophet Jonas, painted in fresco, by 
 Michael Angelo, in the Sistine chapel in the Vatican. 
 
 7. The sight of Paul restored by Ananias ; this fresco paint¬ 
 ing is in the Church of St. Peter in Montorio ; it is by Giorgio 
 Vasari, whose name has become celebrated, not alone by his 
 works of art, but by his “ Lives of the Painters” who preceded 
 and were cotemporary with him. 
 
 
 
PLATE CCI. 
 
 THE PROGRESS OF EXPRESSION IN PAINTING, FROM THE TWELFTH TO THE SIXTEENTH CENTURY. 
 
 1. The Virgin in a swoon, supported by holy women : from 
 the “ Crucifixion a fresco painting of the thirteenth century, 
 in the Church of S. Stefano at Bologna, given in pi. Ixxxix. 
 
 2. Head of an angel, from the “Crucifixion;” a fresco 
 painting of the thirteenth century, in the Church of S. Francisco 
 at Assisi, by Giunta of Pisa, given in pi. cii. 
 
 3. Head of the Virgin ; from a fresco painting by Cimabue 
 of the descent from the cross, in the Church of S. Francisco at 
 Assisi, given in pi. cx. ; thirteenth century. 
 
 4. Head from a fresco painting of a miracle of St. Francis, 
 in the Church of S. Francisco at Assisi, by Giotto, in the 
 fourteenth century. 
 
 5. 6. The Virgin and holy women ; from a fresco painting 
 of the “ Crucifixion,” by Masaccio, in the Church of St. Clement 
 at Rome, given in plate cliv. ; fifteenth century. 
 
 7, 8. The same subject, in a very superior manner, by 
 Raphael, in the sixteenth century ; traced from an original 
 drawing by this master, in Agincourt’s collection. 
 
 9. The messenger of Holofemes begging Judith to follow 
 him to his master’s tent ; a miniature group from the celebrated 
 
 manuscript bible of St. Paul, the details of which are given in 
 plates xl., xli., xlii., xliii., xliv., and xlv. ; ninth century. 
 
 10. St. Cecilia appearing to Pope Paschalis I. in a dream ; 
 part of a fresco painting of the ninth century in the Chinch of 
 St. Cecilia at Rome, given in plate lxxxiv. 
 
 11. The Virgin presenting the infant Jesus to Simeon the 
 high priest ; from a painting in distemper of the thirteenth 
 centuiy, in the Museum Christianum in the Vatican, given in 
 plate lxxxviii. 
 
 12. Two monks listening to the preaching of St. Francis ; 
 fr om a fresco painting of the fourteenth century by Giotto, in 
 the Church of S. Francisco at Assisi ; given in plate cxvi. 
 
 13. St. Peter and St. Paul defending themselves from the 
 unjust accusation made against them ; part of a fresco painting 
 in the Brancacci Chapel of the Church del Carmine at Florence 
 by Masaccio ; given in plate cxlviii. ; fifteenth century. 
 
 14. Psyche converses with her sisters, and, to deceive them, 
 relates pretended outrages received from Cupid ; from the illustra¬ 
 tions of the fable of Cupid and Psyche, by Raphael ; sixteenth 
 century. 
 
PLATE CCII. 
 
 FRESCO PAINTINGS BY COREGGIO IN THE CONVENT OF S. PAOLO AT PARMA. SIXTEENTH CENTURY. 
 
 These elegant designs were long unknown, and still might 
 have remained so but for the energy of a lover of the arts, who 
 substantiated a whisper of the fact of their existence, and had 
 them copied. They were first engraved of a small size in 1797, 
 and afterwards on a much larger scale by Francisco Rosaspina, 
 a talented engraver of Bologna ; they were in an apartment of 
 the Convent of Benedictine nuns, therefore shut out from 
 public view. It appears that this decoration was undertaken by 
 Coreggio by order of Giovanna di Piacenza, one of the abbesses 
 of this convent. The subjects of the paintings will not cause 
 so much astonishment when it is remembered that at this period 
 the abbesses had entire controul over the internal arrangements 
 of the convent, and often lived in a state of great luxury and 
 freedom. The register of the convent shows that the paintings 
 ■were executed in 1519 ; they must, therefore, have been 
 Coreggio’s first works in Parma. 
 
 1. Diana in her car drawn by dogs ; a painting on one side 
 of the apartment. It would appear as if the others had 
 originally been similarly decorated, but afterwards covered over 
 with a whitewash. 
 
 2. Part of the arched roof of the apartment, which is 
 
 divided into sixteen compartments, containing figures in stucco 
 and oval openings in the trellice work of foliage, through which 
 the sky is seen and Cupids variously employed; underneath 
 there are festoons and rams’ heads, forming a sort of support. 
 
 3. The sixteen subjects in the oval openings. We cannot 
 imagine anything more graceful than these groups of Cupids, 
 aimed with the implements of the chase or playing with the 
 dogs of the goddess Diana, as seen through the openings of the 
 trellice work of foliage. 
 
 4. The subjects of the sixteen bas-reliefs in stucco at the 
 lower part of the compartments. The greater part of these 
 subjects, such as the graces, a priestess sacrificing, Juno s 
 pended with an anvil at her feet by order of Jupiter, See., See., 
 are either taken or imitated from the antique ; and if they do not 
 prove that Coreggio studied at Rome, they show that he was 
 better acquainted with the works of antiquity than generally 
 supposed by Vasari and others. (Opere di Antonio Mengs; 
 Roma, 1787. Tiraboschi, Notizie de’ Pittori Modenesi ; 
 Modena, 1786, p. 50. Aflb Ragionamento sopra una stanza 
 dipin ta da Correggio in un Monastero di Parma, 1794. Magazin 
 Encyclopédique ; Paris, vol. i., p. 203.) 
 
PLATE C C III. 
 
 COMPOSITIONS BY TIIE GREAT MASTERS WHO CHIEFLY CONTRIBUTED TO THE 
 RESTORATION OF PAINTING. 
 
 1. The ascension of the Virgin ; the principal group in the dome of the Cathedral at Parma, painted in fresco by Corregio. 
 
 2. The transfiguration on Mount Tabor ; an oil painting on wood by Raphael, formerly in the Church ol St. Peter in 
 Montorio, and now in the collection at the Vatican. 
 
 3. The martyrdom of St. Peter, a Dominician monk ; an oil painting on wood by Titian in the Church of S. Giovanni e 
 Paolo at Venice. This painting was transferred from the wood to canvas and thus carried to Paris, making the tliird 
 instance of the successful execution of this process. 
 
 4. The prophet Isaiah ; a fresco painting by Raphael in the Church of S. Agostino at Rome ; a work in imitation of that 
 by Michael Angelo in the Sistine Chapel. 
 
 5. 6. The creation of Adam and Eve ; a fresco painting by Michael Angelo in the Sistine Chapel in the Vatican. 
 
PLATE CCIY. 
 
 MONUMENT TO THE MEMORY OF POUSSIN IN THE PANTHEON AT ROME. 
 
 A. Lower part of the Pantheon at Rome, in which the busts of the great painters were formerly placed; they were 
 afterwards placed on the capitol. 
 
 1. Bust of Annibal Caracci, executed in marble by Naldini, at the cost of Carlo Maratta. 
 
 2. Bust of Raphael by the same, also at the cost of Carlo Maratta. 
 
 3. Bust of Raphael Mengs, who died in 1779, placed in the Pantheon by the Cavalière Azara, Spanish minister at Rome. 
 
 4. Bust of Nicholas Poussin, placed in the Pantheon by Agincourt in 1782. 
 
 5. The same bust given in larger size, with an inscription beneath ; this work is by a young French sculptor of the name 
 of Séglas, who died soon after its completion. The author of this work will, it is hoped, be pardoned for adding the 
 portrait of this great painter, poet, and philosopher, who rendered such material assistance to the progress of art by his 
 numerous and beautiful productions, surpassing all other masters of the French school. 
 
 END OF PAINTING. 
 
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 Codinus (G.), De officiis aulæ Constantinopolitanæ. 
 
 Collection des vases Etrusques du Chevalier Hamilton ; Naples, 1766, 
 
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 Corippus, I)e rebus gestis Justini. 
 
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 Descrizione delle Architettura di Vicenza, 1779. 
 
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 Descrizioni di gemme antiehe di Federico Dolce; Roma, 1792. 
 
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 Ettruria Pittriec; Firenze, 1791. 
 
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 Romæ, 1700. 
 
 Fazullo. De Rebus Sieulis. 
 
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 Ferrerio, Palazzi di Roma. 
 
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 Franeesconi (Abbé), Illustrazionc di un’ Urnctta lavorata all Agemina etc ■ Venezia 
 
 1800. ’ 
 
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 1639. ' 1 ’ 
 
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 Gorlæus, Dactyliothec, No. 170. 
 
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 Histoire de l’Astronomie ancienne, 1782. 
 
 Histoire Ecclesiastique d’Allemagne ; Bruxelles, 1724. 
 
 Historia Eustachio Mariana; Romæ, 1665. 
 
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 II Forestière istruito uelle cose d’Architettum di Vicenza, 1780. 
 
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 I rcgali sepolcri del duomo de Palermo reconosciuti c illustrati: Napoli, 1781. 
 
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 La France métallique. 
 
LIST OF AUTHORITIES —(Continued.) 
 
 Lambecii (Petri), Commentaria de bibliotheca Vimlobonensi ; Vindoboiue, 1605. 
 
 Lanzi, Storia Pittoricn d'ltnlia; Bassano, 1809. 
 
 IjC Antichi Camera dello Terme di Tito, o lo loro Pitturo rcstituite al Publico da Ludo' 
 vice Mirri ; Roma, 1770. 
 
 Leibnitz, Scriptores Brunswicensia illustrantes 
 Le rrince. Journal des Savans, 1772. 
 
 Lo Roi, Ruines des plus beaux Monumcns do la Grèce ; Paris, 1788. 
 
 Lcttere Pittoriclic. 
 
 Lettres sur la Grèce, l'IIellespont, et Constantinople; Paris, 1811. 
 
 Lumaclii, Memorie storiche dclT antichissima Basilica di S. Gio. Batista di Firenze • 
 Firenze, 1782. 
 
 Lupi, Ad Epitaphium Sevcræ martyris, àc. 
 
 Mabillon, Iter Italicum ; De ro diplomatics ; Iter Gcrmanicum. 
 
 Maffci, Explication do Divers Monumcns, etc. ; Paris, 1739. 
 
 „ Museum Veronese. 
 
 „ Verona illustrate ; Verona, 1732, 
 
 Magazin Encyclopédique ; Paris. 
 
 Mnlvasia, Felsina Pittrice. 
 
 Mamachi, Dello origine Christiane. 
 
 Marangoni, Acta StiVictorini EpiscopiAmiterniet Martyris illustrata, etc.; Roma, 1710. 
 ,, Dello Cose Gcntilcselii trasportate ad uso della chiese Roma, 1774. 
 
 ,. Storia doll’ antiebissimo oratorio, o capclla di S. Lorenzo nel patriarchio 
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 Margarini, Inscriptiones antiquro. 
 
 Mariette, Traité des pierres gravées. 
 
 Marrier, Bibliotheca Cluniaccnsis ; Paris, 1014. 
 
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 Martini, Theatrum Basilicas Pisanæ ; Romæ, 1728. 
 
 Mémoire do l'Academie des inscriptions et belles lettres. 
 
 Mémoire du duc de Chaulnes sur la véritable entrée du Puits des Oiseaux ; Rome, 1783. 
 Mémoires de Stc Pclayo sur la Chevalière. 
 
 Menologium Græcornm, jussu Basilii imperntoriB Græce olim editum .... munificcntia 
 et liberalitate S. D. N. Benedict! XIII., nunc primura Græce et Latine prodit, 
 etc. ; Urbini, 1727. 
 
 Metropolitana di Ravenna, Arehitettura del cavalier Gian Francesco Buonamici Rimincse, 
 Academico Clementino colli disegni deU’antica Basilica, del Museo Archivcscovile, 
 et della Rotondi fuori dello mura della città; Bologna. 1748; 
 
 Michel, Catalogue des Tableaux do la Galerie Impériale à Vienne; Basic, 1784. • 
 Mnntelatici, Villa Borgheso; Roma, 1700. 
 
 Moutfaucon, Bibliotheenrum manuscriptorum nova; Paris, 1739. 
 
 „ Diaritun Italicum. 
 
 „ Monumens de la Monarchie Française. 
 
 ,, Paléographie grecque. 
 
 „ Supplement de l’Antiquité Expliquée. 
 
 Monumenta Boiea, ab academia scientiarum Maximilianca ; Monachii, 1703-1772. 
 Monumenta Uplandica; Stokliolmiæ, 1710, 171». 
 
 Morelli, Notizia d'Opora di disegno; Bassano, 1800. 
 
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 Muratori, Anecdota littoraria. 
 
 „ Rerum Italicarum scriptores. 
 
 Musco Fiorentino. 
 
 Museum Capitolinum. 
 
 Museum Mazzuchellianum. 
 
 Nardini, Roma Antica. 
 
 Nordcn, Voyage d'Egypte et de Nubie. 
 
 Notizie intorno ad Isotta, in the Raceolta Milaneso. 
 
 O|)ero di Antonio Mengs ; Roma, 1787. 
 
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 Pallazzi di Roma, de’ piu cclebri Arehitctti, disegnati da Pietro Ferrerio. 
 
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 rdegrino (Camillo), Apparato idlo Antiquité di Capua; Napoli, 1771. 
 
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 „ Saggio istorico della real Galleria di Firenze ; Firenze, 1770. 
 
 Pennazi, Istoria dell' Ostia di Bolscna; Montefiascone, 1731. 
 
 Picturæ antiquæ cryptarum Romanorum. 
 
 Picturæ Etruscorum in vascnlLs. 
 
 Piranesi, Le Antichità Romane. 
 
 „ Magnificenza do' Romani. 
 
 Pitture d'Ercolano. 
 
 Pitturo di Bologna. 
 
 Pococlie, Description of the East, Ac. ; London, 1743. 
 
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 Ponz Vingo de Espana, 1770. 
 
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 Roliertson, An Historical Disquisition concerning the knowledge which the ancients 
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 „ Pittnre di Padova. 
 
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 .. Studio d'Arcbitettura civile; Roma, 1702. 
 
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 „ Opera d’Architettura; Venezia, 1600. 
 
 Sersalo (Benedetto), Discorso istorico della Capelin de’ Signori Minutoli, etc ; Napoli 
 1745. ’ 
 
 Scverano, Memorie sacre dello chiese di Roma, 1030. 
 
 Spiegaziono e reflessiono sopra alcuni sacri monumenti antichi do Milano inediti ; 
 
 Milano, 1757. 
 
 Spon, Voyage au Levant. 
 
 St. bond (Faujas do'), Récherches sur les Volcans éteintes du Vivarnis ct du Velav ; 
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 cardinalcra, Ac.; Roma, 1710. 
 
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 „ Honda Anzelcynunn, or n complete review of the manners, customs, Ac., of 
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 Studio d'Architcttura civile ; Firenze, 1755. 
 
 Suecia antique et hodiema. 
 
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 Swinburne, Travels in Spain, 177». 
 
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 1791. 
 
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 „ Storia della Lctteraturn Italians ; Modena, 1788. 
 
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 Titis, Pitturo di Roma, 1763. 
 
 Torrigio, Sacre Gratte Vnticane. 
 
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 „ Vite de’ Pittori. 
 
 ,, Proemio delle Vite, Ac.; Roma, 1759. 
 
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 Vergara, Mouete del regno di Napoli : Roma, 1715. 
 
 Vetercs arcus Augustorum. 
 
 Vignoli, Recueil des Monnoies pontificales. 
 
 Visconti, Disscrtaz su due Mosaici ant., Ac. ; Roma, 1788. 
 
 „ Letters di Ennio QuirinoVisconti su di una antica argentins, Ac. ; Roma, 1793. 
 
 ,i Musco Pio Clementino. 
 
 Sculturo del Palazzo della Villa Borghcsc; Rome, 1790. 
 
 Voigtio (Gothofredi), Thysiasteriologia, sivc de altaribus veteran Christianorum ; 
 Hamburg, 1709. 
 
 Walpole, Anecdotes of Painting in England. 
 
 Wincklcmann, Description du Cabinet de Stosch. 
 
 „ Monumenti Antichi Inediti. 
 
 „ Osservazioni soli’ Arehitettura degli antichi. 
 
 ,. Storia delle Arti dol Disegno ; Roma, 1783. 
 
 Zanctti, Della Pittura Veneziana. 
 
 Zerardini, Degli Antichi Edifizj profani di Ravenna. 
 
 Zocga, De Origine et Usu Obeliseorum ; Romæ, 1797.