more than twelve centuries ago. The light
which struggles through the narrow windows serves to harmonise the
brilliant hues and make a gorgeous gloom.

Besides these more general and decorative subjects, many of the
churches are adorned with historical mosaics, setting forth the Bible
narrative or incidents from the life of Christian emperors and kings.
In S. Apollinare Nuovo there is a most interesting treble series of
such mosaics extending over both walls of the nave. On the left hand,
as we enter, we see the town of Classis; on the right the palace of
Theodoric, its doors and loggie rich with curtains, and its friezes
blazing with coloured ornaments. From the city gate of Classis virgins
issue, and proceed in a long line until they reach Madonna seated on a
throne, with Christ upon her knees, and the three kings in adoration
at her feet. From Theodoric's palace door a similar procession of
saints and martyrs carry us to Christ surrounded by archangels. Above
this double row of saints and virgins stand the fathers and prophets
of the Church, and highest underneath the roof are pictures from the
life of our Lord. It will be remembered in connection with these
subjects that the women sat upon the left and the men upon the right
side of the church. Above the tribune, at the east end of the church,
it was customary to represent the Creative Hand, or the monogram of
the Saviour, or the head of Christ with the letters A and [Greek O].
Moses and Elijah frequently stand on either side to symbolise the
transfiguration, while the saints and bishops specially connected with
the church appeared upon a lower row. Then on the side walls were
depicted such subjects as Justinian and Theodora among their
courtiers, or the grant of the privileges of the church to its first
founder from imperial patrons, with symbols of the old Hebraic
ritual--Abel's lamb, the sacrifice of Isaac, Melchisedec's offering of
bread and wine,--which were regarded as the types of Christian
ceremonies. The baptistery was adorned with appropriate mosaics
representing Christ's baptism in Jordan.

Generally speaking, one is struck with the dignity of these designs,
and especially with the combined majesty and sweetness of the face of
Christ. The sense for harmony of hue displayed in their composition is
marvellous. It would be curious to trace in detail the remnants of
classical treatment which may be discerned--Jordan, for instance,
pours his water from an ur