Synopsis
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1876. Excerpt: ... to take the place of the Graeco-Eastern ornament. From the times of Cimabue and Giotto the history of mosaic may be said to merge into that of painting. In many instances, as in most of the mosaic of modern Rome, the inlaid work loses its distinctive merits, and becomes mere imitation of oil-painting, which needs no comment or description here, though it may be traced in some of the restorations. A comparison of the mosaics of Rome and of Ravenna will be found in the pages which precede this chapter. It seems to be universally felt that the latter are greatly superior to the former in workmanship; and also, as it appears to the writer, in power and subtlety of colour. The dark blue backgrounds are varied with many shades of black and deep sea-green, relieved with azure; the malachite and emerald greens, and a peculiarly rich grass tint, which is very difficult to call by the name of any pigment, deserve the peculiar attention of the colourist; who will also take note of the boldness and subtlety with which golden tessera are used to express the lights on green, and even on purple. Extending as they do to near the end of the long reign of Justinian, the Ravennese pictures contain but one or two isolated pictures even of our Saviour; one is in the church of S. Apollinare Nuova, which also contains a Madonna, but she sits as a part of an Adoration of the Magi, who head the procession of female saints. It is, in fact, at Ravenna that the highest merits of Christian art--as expressive of, or in accordance with, primitive doctrine, and that acceptation of it which formed the general and popular faith of the early Church--can be best understood and appreciated. R. St. J. T. FRESCO PAINTING IN THE WALL OF ROME. Since the preceding chapter was in type, Mr. Parker ...
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