sacrificed. Fever must have raged quite fiercely among the
French monks, because when this wanton practice was stopped, only
four pictures were left. Two are now preserved in the church of S.
Antonio, in the chapel of the saint; two in the Palazzo Albani del
Drago alle Quattro Fontane, on the landing of the stairs.[20]

[Illustration: Mosaic from the church of S. Andrea.]

Intarsios of the same kind have been seen and described in the
basilica of S. Croce in Gerusalemme, in the church of S. Stefano
Rotondo, in that of S. Adriano, etc. When the offices adjoining the
Senate Hall were transformed into the church of S. Martina, the side
walls were adorned with the bas-reliefs of the triumphal arch of M.
Aurelius, now in the Palazzo dei Conservatori (first landing, nos. 42,
43, 44). One of them, representing the emperor sacrificing before the
Temple of Jupiter, is given opposite page 90.

The decoration of the churches, like that of the temples, was mostly
done by private contributions and gifts of works of art. The laying
out of the pavement, for instance, or the painting of the walls was
apportioned to voluntary subscribers, each of whom was entitled to
inscribe his name on his section of the work. The pavement of the
lower basilica of Parenzo, in Dalmatia, is divided into mosaic panels
of various sizes, representing vases, wreaths, fish, and animals; and
to each panel is appended the name of the contributor:--

"Lupicinus and Pascasia made one hundred [square] feet.

"Clamosus and Successa, one hundred feet.

"Felicissimus and his relatives, one hundred feet.

"Fausta, the patrician, and her relatives, sixty feet.

"Claudia, devout woman, and her niece Honoria, made one hundred and
ten feet, in fulfilment of a vow."[21]

Theseus killing the Minotaur in the labyrinth of Crete, and labyrinths
in general, were favorite subjects for church pavements, especially
among the Gauls. The custom is very ancient, a labyrinth having been
represented in the church of S. Vitale at Ravenna as early as the
sixth century. Those of the cathedral at Lucca, of S. Michele Maggiore
at Pavia, of S. Savino at Piacenza, of S. Maria in Trastevere at Rome
(destroyed in the restoration of 1867), are of a later date. The image
of Theseus is accompanied by a legend in the "leonine" rhythm:--

_Theseus intravit, monstrumque biforme necavit._

The symbolism of the subject is explained thus: The labyrinth, so easy
of access, but from which