WOMAN IN ART
That was the century in which Santa Barbara was supposed to have lived. But the influence of the Great Constantine did not continue to help Christianity, for as his worldly success extended he returned to the old pagan rites and sacrifices. The flame of Christianity flickered through oncoming centuries, but did not go out.
Another story, historical as to time, awakens a woman's interest in Theodora of the Byzantine world. She belongs in a sense to a semi-pagan people, influenced somewhat by principles of the new religion at that time beginning to be felt.
The seed-sowing and germinating may well be likened to the parable of the sower, for some fell among thorns and brambles, some by the wayside, others into good ground, springing up and bringing forth an hundred fold.
From a street dancer to an actress were the steps that led Theodora to the throne of the Roman world, as Empress beside the Emperor Justinian. A law had to be revoked to permit his marriage with an actress. A Byzantine by birth, she surrounded herself as empress with all the sparkle and glitter of gems and the richest of fabrics. Being of the people she was popular with the people, and her influence with her husband was great. They purposely took opposite sides in discussions of politics and religious subjects.
Jean Joseph Benjamin Constant, French painter of queens, has supplemented history with a beautiful painting of that mediaeval empress. Again we have one man's ideal of a queen and an epoch.
In deep richness of tones he has contrasted the greens of her outer robe of velvet with the warm, pearl-like marble of her imperial throne. The paneled hall is of green marble; her robe is the palest of blue satin embroidered with silver and gold, and studded with gems, notably with large emeralds, while a huge diamond on her left hand fairly dazzles in the shadow. The green and blue are blended by the lining of pearl-green of the velvet robe. The warmth of sunlight and depth of shadow on the rich materials lend a magnificent orientalism to the canvas, and as the eye turns from the throne, the dazzle of her eyes, her gems, and the deep softness of colors go with one. The one note of contrast is the handful of creamy-pink roses dropped on the marble at her feet. It is the accidental note that brings out the full harmony of the color scheme. Her face is expressionless save for the far-away hard look of the eyes. As a work of art it is a masterpiece in pigment, texture, and technique, a type of woman that passed with the Byzantine power.
The painters of the Renaissance were students of the scriptures, of history,
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