ealing of the
paralytic who was let down in a bed to Jesus, (4) The Parable of the
sheep and the goats, (5) The Widow's mite, (6) The Pharisee and the
Publican, (7) The Raising of Lazarus, (8) The Woman of Samaria at the
well, (9) The Healing of the woman with an issue of blood, (10) The
Healing of the two blind men, (11) The Miraculous draught of fishes,
(12) The Miracle of the Loaves and Fishes, (13) The Water turned into
Wine.

And what are we to say of these marvellous things? This first of all,
that for the most part they are not of the time of Theodoric, but
rather of that S. Agnellus who consecrated the church for Catholic
use. This is not to deny that there were always in the church mosaics
occupying the place which these we see fill; on the contrary. But the
processions of the martyrs and of the virgins with the three Magi are
certainly Catholic works, and of the middle or end of the sixth
century; they obviously took the place of certain mosaics perhaps full
of Arian doctrines which then stood there. On the other hand, the
castello of Classis, the Christ enthroned with angels, the Virgin
enthroned with angels, the Prophets or Fathers, and the scenes of Our
Lord's life and teaching, above them, are of Theodoric's time. The
city of Ravenna I am perhaps alone in attributing to the later period.
Dr. Ricci--and he is of course an almost infallible
authority--attributes it to the time of Theodoric. It does not seem to
me to be so. All this, however, must be understood to refer to such
parts of these mosaics as have not suffered restoration, which,
however, has not often been as drastic as that which has befallen the
figures of the Magi; of which the upper parts are new, as are the
figures of the two outer angels.

We have here then under our eyes the two schools of mosaics, that of
Rome and that of Constantinople. It is easy to see that the Roman
work, the original work that is, is more classical and realistic than
the rich and glorious figures of the processions; but it is not
decoratively so successful. Indeed I know of nothing anywhere that is
more artistically, dramatically, and as it were liturgically
satisfying than these long processions on either side of S. Apollinare
Nuovo.

Little else remains in the church worth notice except an ancient ambo
under the arcade in the nave and the chapel of the Relics at the top
of the left aisle. This was largely built of ancient fragments in the
sixteenth century. We