E. Columns are the most interesting feature of what we may call the Basilica style; they were mostly fragments of earlier Roman buildings which had either fallen into ruins or were destroyed for the purpose (No. 51). For this reason on visiting an interior you will often find them of different design, size, and treatment (No. 45). It was natural that the early Christian builders, not being good craftsmen themselves, should use in their buildings the materials and ornaments which were ready to hand, and which had been left by the pagan Roman. The rich and grandiose effect which is the character of these buildings was thus easily obtained, but often at the expense of fitness in the details of the design.

F. Mouldings are coarse variations of Roman types, and the carving is of the rudest kind, though rich in general effect. Technique, or the power of handling tools, had been gradually declining since the time of the Greeks, and the decay continued.

Enrichments were in low relief, and incised upon mouldings, and the acanthus leaf, although still copied from the antique, became more conventional in form.

G. Ornament. The introduction of much colour into interiors is a feature of the period.

The apse, as has been mentioned, was domed and lined with mosaic, the subject generally being Christ surrounded by angels and saints (No. 45).

The arch of triumph preceding the apse is occupied with appropriate subjects, and long friezes of figures line the wall above the nave arcades. The wall spaces between the clerestory windows have subjects drawn from Christian history or doctrine (Nos. 45, 47 and 49).

The figures are treated in strong colours on a gold background. The design is bold and simple, both in form and draperies, and an earnest and solemn expression, fitting well the position they occupy, characterizes the groups. The method of execution is coarse and large, and no attempt is made at neatness of joint or regularity of bedding. The interiors, while bright and free from gloom, are, by the aid of these mosaics, full of solemnity.

It will be seen that besides having regard to the internal effect of the walls, thus coloured with mosaics, pavements of coloured marbles were also employed, being laid out in geometrical patterns, adding greatly to the rich effect of their interiors (Nos. 45 and 51 B). These pavements were formed largely of slices from the old Roman porphyry columns, which were worked into designs by connecting bands of geometrical inlay on a field of white marble. A good idea of this work,

called " opus Alexandrinum," may be seen in the chancel of Westminster Abbey.

Of a finer and more delicate expression was the glass mosaic used to decorate the ambos, screens, and episcopal chairs, as in the fittings of the church of San Clemente at Rome (No. 51).

Brown (Prof. Baldwin).—“From Schola to Cathedral." 8vo. 1886. Bunsen (C. C. J.).-" Die Basiliken des Christlichen Roms." Folio. Munich, 1843.

Butler (A. J.).—“The Ancient Coptic Churches of Egypt." 2 vols., 8vo. 1884.

Hubsch (H.).-" Monuments de l'Architecture Chrétienne depuis Constantin jusqu'à Charlemagne." Folio. Paris, 1866.

Vogué (Marquis de).-" Les Eglises de la Terre-Sainte." Paris, 1860.
Vogué." Syrie Centrale." 2 vols. Paris, 1865-67.
Kingsley (Charles).-"Hypatia." (Historical Novel.)

BYZANTINE ARCHITECTURE.

"So fair a church as this had Venice none :
The walls were of discolored Jasper stone
Wherein was Christos carved; and overhead
A lively vine of green sea agate spread."-CHAUCER.

1. INFLUENCES.

i. Geographical.-Geographically speaking, Constantinople occupies the finest site in Europe, standing on a bold peninsula between the Sea of Marmora and the curved inlet called the "Golden Horn." It is called "Rome" by the Turks of Asia, and, like the other Rome in Italy, it rests on seven hills. It occupies one of the most important commercial sites on the globe, standing at the intersection of the two great highways of commerce-the water high-road from the Black Sea into the Mediterranean, and the land high-road from Asia into Europe; a position which, in the times of which we are writing, gave it power and influence.

ii. Geological.-As far as possible the materials upon the spot had to be employed. The cupola of Santa Sophia is of pumice and bricks from the island of Rhodes. The walling consists of brick, faced with marble. The bulk of the marble used in Santa Sophia and in Constantinople generally is local as regards the Mediterranean.

Constantinople was a marble working centre from which sculptured marbles were dispersed to all parts of the Roman world.

A writer on the subject, Mr. Brindley, is of opinion that quite seventy-five per cent. of the coloured marble used in Santa Sophia, and the other churches and mosques in Constantinople, is Thessalian green (Verde Antico). He supposes that the architect was influenced by the kind of column likely to be at once obtainable, as the quarries were situated in different parts

of the empire, and were worked by convict labour, the monolith columns being worked in groups of sizes such as the quarry could produce.

iii. Climate. Being further east than Rome, and having a hotter climate, Oriental customs in building had to be assimilated by the Romans on settling at Constantinople.

iv. Religion.-It was Constantine who first made Christianity the state religion. The political division that came to pass between east and west was followed by a separation of churches also. The east declined to go with the west in adding to a creed (the Filioque controversy), and still claims to be the orthodox church. The iconoclastic movement ended in the admission of painted figures in the decoration of churches, but all sculptured statues were excluded. These and other points of difference in ritual have vitally affected eastern church architecture.

v. Social and Political.-The geographical position of Constantinople insures the presence of a large trading community. Constantine removed the capital there from Rome in A.D. 323. His system of government was an expansion of the despotic methods introduced by Diocletian. After his death rival emperors troubled the state, and disputes in the church were rife the Council of Nice in A.D. 325 was the first of the general councils called to suppress heresies. During the eighth and ninth centuries the iconoclastic movement was in force. The eastern emperors lost all power in Italy by endeavouring to force their policy in this matter upon the west. By the election of Charlemagne, chosen Emperor of the West in A.D. 800, the Roman empire was finally divided.

vi. Historical.-Byzantium was a Greek colony in the fourth century B.C. Byzantine architecture is that which was developed at Byzantium, or Constantinople, on the removal of the capital of the Roman Empire to that city, in the fourth century A.D., by Constantine. This style was carried on until the city fell into the hands of the Turks in 1453, when it became the capital of the Ottoman empire. During the reign of Justinian (A.D. 527-565), who erected Santa Sophia at Constantinople, the whole of Italy was recovered to the Eastern Empire, accounting for the style of some of the buildings in Italy which we shall notice.

Thus the Byzantine style includes not only the style developed in Byzantium itself, but also those buildings which were erected elsewhere under its influence, the chief of which we shall notice in this section. After the defeat of the Visigoths, Italy was placed under the rule of a delegate of the Byzantine Emperor,