of these
mosaics; 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 colored 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;[36] while the
bright coloring 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 mind of
Europe, is certainly not deserving of consideration as one of the fine
arts. It matters literally nothing to a Romanist what the image he
worships is like. Take the vilest doll that is screwed together in a
cheap toy-shop, trust it to the keeping of a large family of children,
let it be beaten about the house by them till it is reduced to a
shapeless block, then dress it in a satin frock and declare it to have
fallen from heaven, and it will satisfactorily answer all Romanist
purposes. Idolatry,[37] it cannot be too often repeated, is no
encourager of the fine arts. But, on the other hand, the highest
branches of the fine arts are no encouragers either of idolatry or of
religion. No picture of Leonardo's or Raphael's, no statue of Michael
Angelo's, has ever been worshipped, except by accident. Carelessly
regarded, and by ignorant persons, there is less to attract in them than
in commoner works. Carefully regarded, and by intelligent persons, they
instantly divert the mind from their subject to their art, so that
admiration takes the place of d