130 THE STONES OF VENICE

necessarily became the poor man’s Bible, and a picture was more easily read upon the walls than a chapter. Under this view, and considering them merely as the Bible pictures of a great nation in its youth, I shall finally invite the reader to examine the connection and subjects of these mosaics;¹ but in the meantime I have to deprecate the idea of their execution being in any sense barbarous. I have conceded too much to modern prejudice, in permitting them to be rated as mere childish efforts at coloured portraiture: they have characters in them of a very noble kind; nor are they by any means devoid of the remains of the science of the later Roman empire. The character of the features is almost always fine, the expression stern and quiet, and very solemn, the attitudes and draperies always majestic in the single figures, and in those of the groups which are not in violent action;* while the bright colouring and disregard of chiaroscuro cannot be regarded as imperfections, since they are the only means by which the figures could be rendered clearly intelligible in the distance and darkness of the vaulting. So far am I from considering them barbarous, that I believe of all works of religious art whatsoever, these, and such as these, have been the most effective. They stand exactly midway between the debased manufacture of wooden and waxen images which is the support of Romanist idolatry all over the world, and the great art which leads the mind away from the religious subject to the art itself. Respecting neither of these branches of human skill is there, nor can there be, any question. The manufacture of puppets, however influential on the Romanist

* All the efforts of Byzantine art to represent violent action are inadequate, most of them ludicrously so, even when the sculptural art is in other respects far advanced. The early Gothic sculptors, on the other hand, fail in all points of refinement, but hardly ever in expression of action. This distinction is of course one of the necessary consequences of the difference in all respects between the repose of the Eastern, and activity of the Western, mind, which we shall have to trace out completely in the inquiry into the nature of Gothic.²

¹ [See below, §§ 64-70.]

² [See below, ch. vi., and compare Vol. IX., Appendix 8.]

[Version 0.04: March 2008]