Page:The age of Justinian and Theodora (Volume 2).djvu/402

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not typical of earlier efforts.^[1] In the time of Justinian there is no evidence that painting and sculpture in the higher sense existed at all. We know of no pictorial representations, with the exceptions of miniatures in manuscripts and mosaics on the walls of sacred edifices,^[2] while the glyptic art seems to have been almost confined to columnar capitals and carving on plates of ivory.^[3] Of the former class it can only be said that all specimens are not bad, of the latter that there is some meritorious work.

The Byzantines were great builders, and in this sphere alone are their artistic creations really worthy of considera-*

↑ See Agincourt's pictorial series, which exemplifies the perfection of Greek and Roman art, traces its decay, and finally illustrates its rehabilitation in the fifteenth century. In Diehl's Justinian there are many excellent photographs of sixth century productions.
↑ The mosaics of Ravenna can be examined in the South Kensington facsimiles, and their crudity recognized by comparing them with modern work of the same kind executed on the walls of the museum. One of the faces in these tableaux, that of Maximian, Bishop of Ravenna, who stands besides Justinian, gives the impression of being a faithful likeness; which is probable, since the work was executed under his own supervision (c. 545). This was a man of some force of character, who gained considerable repute in his day. Of him an amusing story is told: it is said that he discovered a great treasure, which it was his duty to hand over to the Emperor, but, as he wished to retain a portion for his charitable obligations, he hit on the following expedient. Having killed an ox, he emptied the abdomen and stowed a quantity of the gold iin Vitanside. He then took a pair of boots and filled them with a further amount. With the rest of the treasure he set out for Constantinople and, on his arrival, presented it to Justinian. The Autocrator immediately inquired, "Is this the whole of what you discovered?" "All," said Maximian, "except what I put in the belly and the boots." By this answer he is supposed to have hoodwinked the Emperor, who imagined him to allude merely to his sustenance and travelling expenses while on the road; Agnellus, Lib. Pontif., in Vita.
↑ There is one very pleasing example, the well-known diptych of the archangel Michael in the British Museum, but it seems of unique merit.

[1] See Agincourt's pictorial series, which exemplifies the perfection of Greek and Roman art, traces its decay, and finally illustrates its rehabilitation in the fifteenth century. In Diehl's Justinian there are many excellent photographs of sixth century productions.

[2] The mosaics of Ravenna can be examined in the South Kensington facsimiles, and their crudity recognized by comparing them with modern work of the same kind executed on the walls of the museum. One of the faces in these tableaux, that of Maximian, Bishop of Ravenna, who stands besides Justinian, gives the impression of being a faithful likeness; which is probable, since the work was executed under his own supervision (c. 545). This was a man of some force of character, who gained considerable repute in his day. Of him an amusing story is told: it is said that he discovered a great treasure, which it was his duty to hand over to the Emperor, but, as he wished to retain a portion for his charitable obligations, he hit on the following expedient. Having killed an ox, he emptied the abdomen and stowed a quantity of the gold iin Vitanside. He then took a pair of boots and filled them with a further amount. With the rest of the treasure he set out for Constantinople and, on his arrival, presented it to Justinian. The Autocrator immediately inquired, "Is this the whole of what you discovered?" "All," said Maximian, "except what I put in the belly and the boots." By this answer he is supposed to have hoodwinked the Emperor, who imagined him to allude merely to his sustenance and travelling expenses while on the road; Agnellus, Lib. Pontif., in Vita.

[3] There is one very pleasing example, the well-known diptych of the archangel Michael in the British Museum, but it seems of unique merit.

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