The Ravenna Baptistery.

arched spans at the sides of the windows are iEdicula ? , with their cornices and pediments supported by columus , and statues standing within them , the whole in basso relievo , and on the flat space above each three arches and below the

greater one which spans them scroll work of the same description . Some are inclined to think that this stucco work is a comparatively modern substitution for mosaic once occupying the same spaces , but apart from the improbability that the mosaic would have been either ruined

exactly along this zone or removed from it , while it remained uninjured above and below , there are abundant evidences visible by the side of some ill-proportioned restorations it has received to show that it belongs to the same period aud might

easily be ascribed to an earlier . The ornamentation of the dome is divided into two zones surrounding the central picture ; the baptism of Our Saviour in the Jordan . The lower zone , including the spandrils between the arches

decorated with stucco work , is divided into eight compartments , corresponding with the sides of the octagon below , and separated from each other by a perpendicular ornament like the grand marble candelabra of the Roman palaces . It

springs from a splendid acanthus plant , shaded in greens , reds , and gold , with doves , parrots , and other birds resting upon them , and , with acanthus ornaments , lessening in size and varied in the richest colours , continues to the base of the zone above . In each compartment isas it

, were , the representation of the interior of a circular temple supported on columns with a kind of rectangular colonnade at each side , or the internal section of a double peripteros , showing the semicircle in the middle and two columns in a line

at the sides , with the two next behind them , somewhat in perspective . The backgrounds are alternately dark blueand dark green , the columns are of gold , the cornices gold and ornamented with gems , and the soffits either divided into sunk panels

or formed by a great shell . In four of these splendid temple-like edifices are tables in the central part , each supported by four little columns , and bearing an open book of one of the Gospels . On the pages are inscribed in Latin " The Word

according to" followed on each by the name of the separate Evangelist . Between the columns on each side is represented a handsome chair , with what is either a crown resting on the seat or a rich ornament of some kind on the lower part of

the back . These chairs have curved legs , and are not unlike those seen in modern drawing-rooms . In each of the other four edifices , and alternately with those I have mentioned , is placed , in the central portion , a splendid golden throne supported

on perpendicular legs , with a round back , on the upper part of which is a gemmed circle containing a cross . The seat is covered with richly-coloured drapery , hanging over at the sides and front , and upon it a magnificent cushionlike a very

, thick , soft pillow , the folds shaded with gold and silver , the latter having turned a pale metallic blue . Between the columns on the sides is marble trellis

work , rising to the lower third , and enclosing plants and trees , and this portion , I may remark , as another evidence of the original art source , bears a sufficient resemblance to some of the frescoed

ornamentation on the walls of the Auditorium , discovered on the Esquiline , and supposed to have formed part of the house of Mecenas . Above the zone runs a band of

ornaments supporting a grassy field , whereon walk the twelve Apostles , with the name inscribed against each , advancing with somewhat hurried gait , six from the one side and six from the other , towards the perpendicular of the central picture . They are draped alternatelin golden

y tunics , and white mantles , and white tunics and golden mantles . On their tunics are the two perpendicular black lines I have described on those of the Prophets , and which are found on the dresses of all the saints and ecclesiastics m

the Ravenna mosaics , and on the corners of their mantles—a sign in black like a mason's two-sided square . Their heads are uncovered and without nimhi . In their

hands , extended forward and hidden m their mantles , they carry crowns set with gems . They are separated from each other by tall upright stalks , orn amented with golden wreaths and springing up between them from acanthus plants on the level of their feet . While these fig" 1 ' 09