oval, similar to that
of a youthful matron of ancient Rome, and carrying always the expression
of a calm benignity. The head is covered with a veil and surrounded by a
nimbus. Next to Mary and her Son, Peter and Paul, the chief apostles of
the Pagan and Judaic world, are most frequently represented. They were
both objects of devotion, even to those who still lingered without the
pale of Christianity. The Mosaics display them more frequently than the
Catacombs. Their type is not fixed; although Peter may at times be known
by his curly hair and beard, whilst the bald forehead and the pointed
fashion of the beard render Paul at once recognisable. The other
apostles, as well as the personages of the Old Testament, have not grown
into individuality, and lack the distinguishing features by which sacred
and historical characters of antiquity become objects of real life, and
are rendered familiar to the most distant ages.

The most ancient Mosaic works of the Christian era are to be found in
the mausoleum of Constantine. The subject is strictly symbolic. It is
the vine, with birds perched on the branches and angels collecting the
grapes. One of the tendrils encompasses the head of Constantine. The
forms of the angels show a near affinity to Pagan art. Another great
Mosaic work, more ecclesiastical in thought and execution, was promoted
by Pope Sixtus III. in 443. It consists of historical representations
from the Old and New Testaments, and ornaments the space below the
windows of the Maria Maggiore. The costumes, the helmets, and cuirasses
resemble those of ancient Rome; but where priests and Levites appear,
the oriental character is followed. The composition is poor, and the
human figures are rude and awkward. That little regard is paid to
perspective is not a matter of surprise. Antique art is guilty of the
fault. It would be difficult for any Mosaic work to overcome the
difficulties which present themselves in the active scenes of real life
and history. The Mosaics in the triumphal arch of the Church of St Paul
create a favourable impression, simply because they confine themselves
to that narrow and more suitable sphere, in which alone the Mosaic art
can look to be successful.

The study of the period of Christian art, treated of and exemplified in
Professor Kinkel's book, though apparently unprofitable to the artist,
is full of interest to the curious observer, and to one who has pleasure
in beholding the development of t